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Goodbye Again (1961) Ingrid Bergman, Anthony Perkins & Yves Montand

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    Gabby.
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    Oh, Gabby. I'm late.
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    - Has monsieur called?
    - No, madame.
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    I couldn't find a taxi with the traffic.
    Is the dress ready?
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    Be an angel and draw me a bath.
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    Not too hot. Oh, no. My zip...
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    It never works when... It's all right.
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    Oh, Gabby, where did you put my...
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    Oh, never mind. I found it.
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    I think I'll wear my mink jacket tonight.
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    Gabby, did you fix the belt to the dress?
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    - Oui madame.
    - Not oui madame, yes, ma'am.
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    - You're learning to speak English.
    - Oui, madame. Yes, ma'am.
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    Would you answer it, Gabby?
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    Say, I just left.
    I just walked out the door.
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    Hello. Yes, I mean, oui monsieur
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    All right, I'll take it.
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    Watch the water, Gabby.
    Roger, darling.
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    Oh, I'm sorry, but I'm going to be late.
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    Well, really, the traffic in Paris
    this time of day is something...
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    You what? You can't? Oh, no, Roger,
    not again. I know it's business,
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    but it's just that tonight
    is a very special night.
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    It's our fifth anniversary. Of what?
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    Of the night we met.
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    No, no, I understand.
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    Yes, tomorrow will be all right.
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    Good night, darling.
    Good night.
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    It's very useful for a man this business.
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    Yes, very useful.
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    I would give him an ultimatum.
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    What kind of an ultimatum?
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    We are going to get married or out?
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    No, Gabby. I've told you
    we don't want to get married.
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    He doesn't want to.
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    We were both married before.
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    You know that.
    We both learned the same thing.
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    People should be together
    because they want to be,
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    not because they have to be.
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    - Freedom is such a precious thing.
    - For him, not for you.
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    - Oh, Gabby.
    - He goes out with other girls.
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    Yes, he does.
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    - You don't go out with other men.
    - I don't want to.
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    Some freedom.
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    You worry too much about me, Gabby.
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    My mom says it doesn't matter
    when you are young,
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    but when you are old,
    you want to be married.
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    Oh, Gabby, am I that old?
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    No, but you are too much alone.
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    Sorry about last night.
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    - This has been a terrible week.
    - Yes, I know, Roger.
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    I'm still trying to close
    a deal in Denmark,
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    but one in Holland fell through
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    and I have no shipments from America
    because of the strike.
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    - It's not very gay all that.
    - No.
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    Shall we give it up, Paula?
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    I could live quietly in the country
    in the small house by river.
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    You wouldn't know
    what to do with yourself.
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    You couldn't live without
    your trucks and your tractors
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    and the life of your city,
    your long Paris nights.
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    But you've taken
    to driving very fast lately.
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    I know. What's that a sign of?
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    - Trying to stay young.
    - Oh, you'll never be old.
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    Je t'adore.
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    Whatever I say, you understand.
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    Whatever I ask, you can answer.
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    - Oh, I am remarkable.
    - You are.
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    I wonder how many times I've done this.
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    Leaned forward to turn on the radio
    as you drove me home from dinner.
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    Paula.
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    Well, am I very selfish? I mean, with you.
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    No. It's true I feel alone sometimes.
    Not quite so young. And I miss you.
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    But I know how much
    your your business means to you.
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    - Do you know how much you mean to me?
    - I think so.
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    Oh, I forgot.
    I had lunch with Jack Vanette today.
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    He has a friend who needs a decorator.
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    A rich American woman
    with a new apartment.
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    Here's the name and address.
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    You're supposed to see her
    tomorrow morning.
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    Oh, thank you.
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    Sounds like there may be some money in it.
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    I could use it.
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    Well, good night. I'll let you sleep.
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    Well, what happened?
    We were looking for you.
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    Good morning, Suzanne.
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    Would you like to take a walk?
    Then I'd like to take a walk.
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    - Morning.
    - Oh, good morning.
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    I'm Philip Van der Besh.
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    - Have you come to see my mother?
    - Yes.
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    - Won't you sit down?
    - I hope I'm not too early.
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    Oh, no. No. Mother's up, I'm sure.
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    Is it about doing the apartment?
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    - Yes.
    - Well, it could stand a bit of doing.
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    Well, I did wonder where you sit
    when you're more than three.
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    Oh, well, I wouldn't know about that.
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    I work all day, and when I come home,
    I go straight to bed.
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    Oh, you must work very hard.
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    Yes, I do. I do. I'm a lawyer.
    Never get to bed before midnight.
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    Up and out of the break of dawn.
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    - It's almost 11 now.
    - Yes. Well, yes.
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    Well, it's uh unusual.
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    I may as well tell you
    my most important client
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    went to the guillotine this morning.
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    The guillotine? Good heavens! Is he dead?
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    No. Actually, I don't do much work.
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    Not enough really.
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    - Would you like a cigarette?
    - Yes, thank you.
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    Where did... Oh, thank you.
    Is it still raining?
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    No, it's not still raining.
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    Well, there really isn't
    anything else to say, is there?
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    I don't know you.
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    If I did, I'd tell you how happy
    I was to see you again.
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    - Why?
    - I don't know. I just would.
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    Suzanne, has Mr. Phillip gone?
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    Quick, there's another.
    When were you born?
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    What day? What month?
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    - Phillip.
    - Yes, mother.
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    Oh, there you are.
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    I do think you might get out
    of the house before 11 once in a while.
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    Uh, yes, ma. I was just gone.
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    I can't see why monsieur Fleury
    puts up with you?
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    Oh, that's easy.
    You're his richest client. Goodbye.
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    I do hope I'll see you again.
    Good luck.
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    I'm sorry. Did you want to see me?
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    Mr. Bunnell asked me to stop in
    and see you this morning.
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    Jack Bunell,
    he said he'd spoken to you about...
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    Oh, yes, yes.
    About the apartment.
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    You're the decorator.
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    Well, he said some
    very nice things about you.
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    Now, before we begin,
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    there's one thing I want you
    to understand very clearly.
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    If there's one thing I can't stand,
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    it's people who try
    to take advantage...
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    Suzanne.
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    You have to tell them
    everything a dozen times.
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    Don't misunderstand me, my dear.
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    I want the apartment to look well,
    but there are ways of doing it, aren't there?
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    - I had a young man....
    - Madame?
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    What?
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    What? Oh, oh, yes.
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    I've told you not to leave
    the windows open.
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    Well, kindly remember.
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    She won't, you know
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    They say servants are cheaper over here
    but they strain on the nerves.
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    Now what was I saying?
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    - You had a young man.
    - Young man. Oh yes, of course.
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    The decorator. Well, he didn't last long.
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    I've met robbers in my time.
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    Oh, do sit down, my dear.
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    But for sheer thievery,
    he was...
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    - When were you born, dear?
    - Oh, I beg you pardon.
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    When were you born?
    Oh, you don't have to tell me the year.
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    I wouldn't dream of asking you that.
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    - But the month?
    - June.
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    - Oh, what part of June?
    - The 13th.
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    Oh, Gemini.
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    Oh, how interesting. I don't suppose
    you remember the time of day.
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    - No, no, I'm afraid.
    - Oh, that's too bad.
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    Well now, shall we do
    the downstairs in Louis XV?
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    It'll cost quite a bit more.
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    And if you want to keep
    the pieces you already have...
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    I most certainly do.
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    Come along. I'll show you around.
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    You know, these things have been
    eating their heads off in storage.
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    It's about what time
    they paid for their keep.
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    But my son is studying
    international law, you see,
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    and we travel a lot, but now
    we have to stay in Paris for a while.
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    Oh, did you meet Phillip?
    Oh, you must meet him.
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    He's quite charming
    and really quite right.
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    The trouble is I haven't the faintest idea
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    what goes on in this mind.
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    Oh, this is the dining room.
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    - I am sorry about his arm.
    - Arm? What arm?
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    The one that goes like this.
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    Really? I hadn't noticed it.
    I must have a look.
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    Oh, about the dining room.
    Now, I thought over here...
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    Taxi!
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    But you haven't been
    here all this time.
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    No, I had some things to do.
    I just happened to drop by this way.
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    - I'm going to Boulevard Haussmann.
    - Fine.
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    - Are you sure?
    - Sure.
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    Thank you.
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    There's an art to getting into this thing.
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    - You all right?
    - Oh, nothing. Just my stuff.
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    - Am I driving too fast?
    - Oh, no. I'm used to it.
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    I have a friend who drives very fast.
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    He says it keeps him young.
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    Does he want to stay young?
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    - Oh, yes.
    - Not me.
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    I take it you were born
    into the right sign to do the apartment.
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    I hope so.
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    - Do you believe in the stars?
    - No, but your mother seems to be ruled by.
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    It's very convenient, too.
    If you're ruled by the stars,
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    you don't have to feel responsible
    for the things you do.
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    Did you find her vague?
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    - Yes, in a way.
    - She's not a bit vague.
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    It's an act.
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    Oh, it seems that acting runs
    in your family.
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    - How's your arm?
    - Pretty good.
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    Listen, make mother pay as you go along.
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    She's rich and stingy
    and she hates to pay bills.
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    You shouldn't talk like that
    about your mother.
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    - I'm not a child.
    - Oh, that's why. How old are you?
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    - 25.
    - How old are you?
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    40.
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    - What's so funny?
    - The admiring whistle.
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    I was more admiring than you think.
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    Thank you.
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    Will you have lunch with me one day?
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    Nope.
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    Just like that. No?
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    Just like that.
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    Sorry, I didn't mean to be rude,
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    but it's difficult for me
    to plan lunch the way I work
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    - and now with your mother's apartment...
    - I understand.
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    - Here to the right, please.
    - Okay.
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    - Well, thank you very much.
    - Not at all.
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    Well, goodbye.
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    Hello.
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    Good morning.
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    - Morning, Alex.
    - Good morning.
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    He's rung for you three times.
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    - No. What about?
    - How should I know?
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    - Probably the Guillaut brief.
    - I gave him that yesterday.
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    That's probably why.
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    What is it? What's the matter?
    Have you hurt yourself?
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    No, it's all right.
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    Oh, no. No, no, no, no.
    Let me go. Let me go.
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    You and your play acting. Really.
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    Alice? I met someone this morning.
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    I know.
    The most beautiful girl in the world.
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    No, a woman.
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    Warm, charming,
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    gay, and yet sad.
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    - There was a deep sadness in her eyes.
    - From what?
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    I don't know.
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    - The husband.
    - What husband?
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    - Isn't she married?
    - How would I know?
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    Don't think you ought to find out?
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    - What difference would it make?
    - Oh, excuse me.
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    Well, if she is,
    it can't be a good marriage.
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    She's not happy.
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    - No, she could only be happy with you.
    - Right.
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    Yes.
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    Good morning, sir.
    No, that'll be fine.
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    Six. Six. Six dozen.
    Thank you.
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    - Sorry.
    - I hope you know what time it is.
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    Yes. Yes.
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    Oh, dear. I'm sorry about that.
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    I was delayed at home this morning.
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    My mother's not well.
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    I talked to your mother
    on the telephone exactly 5 minutes ago
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    and she seemed to be in perfect health.
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    Yes. Well, she she is uh
    she's much better now.
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    Thank you for inquiring.
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    I've read the Guillaut brief.
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    - Yes.
    - I do not think I need tell you
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    of the high regard
    in which I hold your family.
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    And I'm sure you know how pleased
    I was to take you into my office.
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    Yes.
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    But you seem to have no ambition.
  • 17:42 - 17:44
    You show no desire to work.
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    Why? This is not a brief.
    It gives no citations.
  • 17:49 - 17:51
    It presents no body of law
    to support our case.
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    What did you think you were doing?
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    - I don't know.
    - Don't you care?
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    - Yes.
    - Well, then.
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    I just don't know what I'm doing.
  • 18:03 - 18:05
    You're studying French law, I hope.
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    No, I mean, um, what am I doing?
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    What have I done to prove I'm alive?
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    - You understand?
    - Are you trying to be funny?
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    No, I want to know how does one do it.
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    For instance, I've just realized that
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    I've never even been in love.
  • 18:24 - 18:26
    Well, I have. Do that brief.
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    What's her name?
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    I don't know.
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    You look wonderful tonight.
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    You always say that
    when I wear this dress,
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    I'll have to have it copied.
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    No, no, it's not the dress.
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    How did you ever find this place?
  • 19:28 - 19:31
    I don't know.
    Probably came here with business people.
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    Hello.
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    You seem to know everybody.
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    No, it's just one of those nights.
    That's all.
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    What's up?
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    They seem awfully young, don't they?
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    Young? I don't think so.
    What about him?
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    No, but he's trying.
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    I'm afraid I have to go home
    early tonight.
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    Oh, I didn't tell you. I got the job.
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    Yes. That card you gave me
    from Jacques Bunnell.
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    - Oh, you went there
    - This morning.
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    Her name is Van Der Besh.
    She's one of those rich women
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    who live all over the world
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    and still give you the feeling that...
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    - Hello.
    - Hello. It is funny. That is her son.
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    Mr. Van Der Besh. Mr Desmarest.
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    - I knew I'd find you.
    -Oh, you were looking for me?
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    - Yeah.
    - How nice.
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    I looked for you everywhere.
    All the time you were here.
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    Not quite all the time.
    We had dinner at the Berkeley.
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    I finally began to wonder
    if you were real or just a dream.
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    This place is getting too popular.
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    Are you married? I hoped you weren't.
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    - Oh?
    - Oh, I'm sorry, sir.
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    I think I said something
    I shouldn't have said.
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    Hey, would you like some coffee?
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    No, I hate coffee.
    I'll have one of the....
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    Don't make any difference now.
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    I'll be right back.
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    There's a man for you. A real man.
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    Strong, confident, sure of himself.
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    I don't think it's that simple.
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    - Do you love him?
    - It's none of your business.
  • 21:36 - 21:38
    Oh. Oh, I apologize.
  • 21:40 - 21:43
    It's funny. I've done nothing
    all day but apologize.
  • 21:44 - 21:47
    Claude. Claude.
    Three whiskeys, s'il vous plaît.
  • 21:47 - 21:48
    Hello.
  • 21:49 - 21:50
    Well, hello.
  • 21:51 - 21:54
    - Small world, isn't it?
    - And full of charming surprises.
  • 21:54 - 21:56
    I'm afraid I don't quite
    remember where I am.
  • 21:56 - 21:59
    Chéri, I forgot my lighter.
  • 21:59 - 22:04
    - Oh, darling. You remember Mr...?
    - Desmarais.
  • 22:04 - 22:06
    Oh, yes.
  • 22:09 - 22:11
    Nice to see you again.
  • 22:14 - 22:18
    And then I found out
    I didn't know your name.
  • 22:18 - 22:19
    Well, here you are.
  • 22:19 - 22:23
    Sir, I I want to apologize
    if I said anything...
  • 22:23 - 22:27
    Oh, well, we've all had too much
    to drink at one time or another.
  • 22:27 - 22:30
    - Would you like to dance, darling?
    - I'd love to. Excuse me.
  • 22:33 - 22:36
    Do you mind? Thank you.
  • 22:38 - 22:40
    We'll be back. Don't worry.
  • 22:40 - 22:42
    Hey, Philip, we're going to Régine.
    You coming?
  • 22:42 - 22:43
    Come on, Phillip.
  • 22:43 - 22:46
    Ah, strange boy.
  • 22:47 - 22:51
    Not strange. Just very young
    and a little drunk.
  • 22:51 - 22:53
    "I have looked for you all over Paris.
  • 22:53 - 22:56
    "I've begun to wonder
    if you're real or just a dream."
  • 22:57 - 22:58
    Congratultions for that.
  • 22:59 - 23:02
    Oh, he's just a boy
    and I think terribly unsure.
  • 23:02 - 23:05
    Unsure? A young man who looks for you
  • 23:05 - 23:07
    all over Paris and takes your hand
  • 23:07 - 23:10
    and says, "Are you married?"
    It's not my idea of unsure.
  • 23:11 - 23:14
    Well, it's been a long time
    since anyone chased all over Paris
  • 23:14 - 23:15
    looking for me.
  • 23:15 - 23:16
    And you like it, huh?
  • 23:16 - 23:19
    - Yeah.
    - Yes, of course I do.
  • 23:20 - 23:22
    Oh, he's gone.
  • 23:25 - 23:27
    Good. Now I can finish my drink.
  • 23:29 - 23:31
    Excuse me.
  • 23:34 - 23:36
    I really must go home.
  • 23:36 - 23:39
    If I stay up like this,
    I'll look 100 tomorrow.
  • 23:39 - 23:41
    Oh, come on.
    I'm just beginning to like it here.
  • 23:59 - 24:01
    Poor! He is going to break the window.
  • 24:24 - 24:25
    Darling, please take him.
  • 24:27 - 24:30
    - Hey, come on.
    - I'm all right. No, no, I'm all right.
  • 24:30 - 24:32
    I'm all right.
  • 24:33 - 24:34
    Find his key.
  • 24:34 - 24:36
    - I got my key.
    - Where is it?
  • 24:38 - 24:40
    - I won't tell you.
    - Oh, please.
  • 24:46 - 24:48
    There. There you are.
  • 24:49 - 24:51
    - My key.
    - Can you make it all right?
  • 24:52 - 24:53
    Certainly.
  • 24:55 - 24:57
    Good night.
  • 24:58 - 24:59
    Wait a minute.
  • 25:03 - 25:04
    Good night.
  • 25:08 - 25:10
    - Good night.
    - Good night.
  • 25:13 - 25:14
    Roger!!
  • 25:36 - 25:37
    I'm sorry you had a bad time.
  • 25:37 - 25:39
    No, it was quite amusing.
  • 25:41 - 25:43
    Oh, well, good night, darling.
  • 25:43 - 25:46
    May I come up for a drink?
  • 25:49 - 25:50
    Wait a minute.
  • 26:17 - 26:19
    Oh, no. You can't have that.
  • 26:19 - 26:21
    I'm covering a chair for Margo Glenville.
  • 26:21 - 26:24
    Maro Glennville can go to... I want this.
    I adore it. And I shall have it.
  • 26:24 - 26:27
    Now that's settled.
    I love you passionately.
  • 26:27 - 26:28
    I have to run. Where's my packet?
  • 26:28 - 26:31
    There. But it won't go
    with your apricot walls.
  • 26:31 - 26:33
    We'll make them oyster white.
  • 26:33 - 26:34
    Uh, do you want me tomorrow? Yes.
  • 26:34 - 26:37
    Yes. I have a pair of lamps coming in
    that I want you to look at.
  • 26:37 - 26:38
    I'll be in around 6:00.
  • 26:39 - 26:41
    Goodbye, my love.
  • 26:43 - 26:44
    Hello.
  • 26:45 - 26:48
    - I came to apologize.
    - Oh, you needn't.
  • 26:48 - 26:51
    And please,
    thank your husband for me for...
  • 26:53 - 26:56
    - How is your head?
    - I'll live, I think,
  • 26:56 - 26:57
    but I'm not sure I want to.
  • 26:57 - 27:00
    Oh, you do look a bit um...
    You ought to get some sleep.
  • 27:01 - 27:03
    - Well, the thing is I'm hungry.
    - Well, then go and eat.
  • 27:03 - 27:04
    That's why I'm here.
  • 27:04 - 27:08
    I know you said you were busy,
    but would you have lunch with me?
  • 27:08 - 27:09
    I just want to make up for last night.
  • 27:09 - 27:12
    - Oh, there's no need.
    - But I want to.
  • 27:12 - 27:14
    What do the stars hold
    in store for you today?
  • 27:14 - 27:16
    - Did your mother tell you?
    - Yes.
  • 27:18 - 27:20
    I must persevere in whatever I'm doing,
  • 27:20 - 27:22
    no matter how hopeless it may seem.
  • 27:22 - 27:24
    You're acting again.
  • 27:25 - 27:26
    Please.
  • 27:28 - 27:29
    It's a beautiful day.
  • 27:29 - 27:31
    We could lunch in the country.
    I have my car
  • 27:32 - 27:33
    Or in the Bois.
  • 27:33 - 27:36
    Then if you get bored,
    you can phone for a taxi.
  • 27:36 - 27:38
    You think of everything.
  • 27:49 - 27:53
    Oh, another run. I suppose
    all your girlfriends wear slacks.
  • 27:54 - 27:57
    - I haven't any.
    - No girlfriends. Why not?
  • 27:57 - 27:58
    I don't know.
  • 28:06 - 28:09
    Try to think. When did this general
    falling away from you begin?
  • 28:10 - 28:13
    Oh, I've known lots of girls,
    but it just doesn't last.
  • 28:13 - 28:16
    It's my fault, I guess.
    But they're so young.
  • 28:17 - 28:20
    - What's wrong with that?
    - Oh, I don't know. It must be me.
  • 28:21 - 28:24
    Still, I take this last girl.
    Now, she was pretty
  • 28:24 - 28:26
    and exactly the way older people
    imagine the young to be.
  • 28:27 - 28:30
    How do older people
    imagine the young to be?
  • 28:30 - 28:33
    Oh, you know,
    they try to look wickedly decadent.
  • 28:33 - 28:37
    They they drive their little cars
    at top speed, clenching their teeth.
  • 28:37 - 28:40
    They light cigarettes the moment
    they open their eyes in the morning.
  • 28:41 - 28:47
    And she kept telling me that love was
    no more than the touching of two skins.
  • 28:48 - 28:51
    - And?
    - Well, I think love is more than that.
  • 28:52 - 28:54
    She cried when I left her.
  • 28:54 - 28:58
    I'm not proud of that.
    I hate the breaking up of things,
  • 28:58 - 28:59
    partings and goodbyes.
  • 29:00 - 29:02
    Well, then you must never fall in love.
  • 29:03 - 29:05
    Is that true?
  • 29:06 - 29:07
    I hope not.
  • 29:08 - 29:10
    Are you in love with your husband?
  • 29:12 - 29:13
    I have no husband.
  • 29:19 - 29:20
    Good.
  • 29:22 - 29:25
    After the last night,
    you should be drinking water.
  • 29:25 - 29:27
    I feel fine, but I need this for courage.
  • 29:27 - 29:32
    - Do I intimidate you?
    - But I'm afraid you'll get bored.
  • 29:32 - 29:35
    You probably think I'm one of those
    spoiled insipid young men
  • 29:35 - 29:36
    who gets pushed into polite jobs
  • 29:36 - 29:41
    that their parents can pay for, and
    from then on are busy trying to keep busy.
  • 29:41 - 29:43
    Is that how you think of yourself?
  • 29:43 - 29:45
    No, I like my job.
  • 29:45 - 29:47
    You don't sound very enthusiastic.
  • 29:47 - 29:50
    Corporation law, there's nothing duller,
  • 29:50 - 29:51
    not criminal law.
  • 29:52 - 29:54
    Well, then why don't you do that?
  • 29:55 - 29:59
    One doesn't practice criminal law
    in my family. It isn't done.
  • 29:59 - 30:03
    Have you ever seen a murder trial?
    Ah, it's wonderful.
  • 30:04 - 30:05
    They're so different
    in each country
  • 30:05 - 30:08
    and always so exciting in its own way.
  • 30:08 - 30:09
    In America, it's like a football game.
  • 30:09 - 30:10
    - Why did you lie?
    - I didn't. I didn't.
  • 30:10 - 30:12
    - We know you had the gun in your hand.
    - I object.
  • 30:12 - 30:13
    - Overruled.
    - Answer the question.
  • 30:13 - 30:15
    - I didn't. I didn't.
    - You're lying.
  • 30:15 - 30:16
    - You threatened to kill him.
    - I didn't. I didn't.
  • 30:16 - 30:17
    You stood in the corner
    of Howard and Mason.
  • 30:17 - 30:18
    - I object.
    - Sustained.
  • 30:18 - 30:20
    - Your honor...
    - Sustained.
  • 30:23 - 30:24
    Oh, in France it's different.
  • 30:24 - 30:29
    The French have a logic
    and a sophistry and a true sense of drama.
  • 30:30 - 30:35
    J'accuse... Sorry.
    I accuse in the name of the dead.
  • 30:35 - 30:38
    I accuse you of avoiding
    your duty as a human being.
  • 30:39 - 30:43
    I accuse you of letting love go by,
    of neglecting your duty to be happy,
  • 30:44 - 30:47
    of living on evasion
    and subtrifusion, resignation.
  • 30:48 - 30:50
    You should be sentenced to death.
  • 30:50 - 30:53
    You will be sentenced to solitude.
  • 30:54 - 30:57
    - A horrible sentence.
    - The worst.
  • 30:58 - 31:03
    The worst and the most frightening.
    To be alone and without love. Isn't it?
  • 31:05 - 31:06
    Yes.
  • 31:10 - 31:13
    You must find me even
    more ridiculous than last night.
  • 31:13 - 31:14
    No.
  • 31:15 - 31:17
    Or do you think I'm acting again?
  • 31:17 - 31:18
    I was thinking of myself,
  • 31:19 - 31:22
    but I was thinking too that
    you're far too young to feel that way.
  • 31:24 - 31:27
    - Alone without love.
    - You don't know.
  • 31:28 - 31:29
    No.
  • 31:29 - 31:35
    Anyway, it takes two. It's not enough
    to love. One must be loved.
  • 31:40 - 31:43
    - You look sad.
    - Oh, no. I'm not.
  • 31:45 - 31:50
    I should like...
    I should like...
  • 31:52 - 31:57
    I don't really know you,
    but I should like to think you are happy.
  • 32:05 - 32:07
    Here's fine.
  • 32:08 - 32:12
    Here we are.
    Well, thank you for lunch.
  • 32:14 - 32:15
    - Goodbye.
    - Where are you going?
  • 32:15 - 32:17
    Oh, just to do a few errands.
  • 32:17 - 32:19
    - Can I come with you?
    - No, I really had a good time.
  • 32:19 - 32:20
    Thank you again.
  • 32:20 - 32:22
    - Can I just walk with you?
    - No. Goodbye.
  • 32:30 - 32:33
    Hello. I thought I could carry
    your packages.
  • 32:33 - 32:36
    Well, then I can
    take you back to your shop.
  • 32:36 - 32:39
    Oh, please don't be mad at me.
    I don't think I could stand that.
  • 32:39 - 32:41
    Really? You are a child.
    You must have been terribly spoiled
  • 32:41 - 32:44
    - when you were young.
    - Oh yes. Mother gave me everything.
  • 32:44 - 32:46
    Much easier than saying no.
  • 32:46 - 32:47
    What about your father?
  • 32:47 - 32:50
    Oh, we ditched him when I was seven.
    And from then on, we traveled.
  • 32:50 - 32:51
    Just mother and I.
  • 32:51 - 32:53
    Home is where the heart is.
  • 32:53 - 32:55
    And travel broadens the mind.
  • 32:55 - 32:56
    Oh, you're so very right.
  • 32:56 - 32:58
    I have an amazing fund
    of useless information
  • 32:58 - 33:00
    which serves me very well
    at dinner parties.
  • 33:00 - 33:03
    I have thousands of acquaintances
    without the burden of friendship.
  • 33:03 - 33:04
    I've been in and out of 27 schools.
  • 33:04 - 33:07
    And I can say I love you
    in 13 different languages.
  • 33:07 - 33:09
    Not bad at all.
  • 33:10 - 33:13
    That's my favorite. It's "I love you"
    in Norwegian.
  • 33:13 - 33:15
    Did you learn that from a Norwegian girl?
  • 33:15 - 33:18
    Yes. It's the extra syllable
    that gives it the emotion.
  • 33:20 - 33:22
    Well, here I am. Goodbye.
  • 33:22 - 33:25
    - Wait a minute.
    - Yes.
  • 33:28 - 33:29
    Do you like Brahms?
  • 33:30 - 33:30
    What?
  • 33:31 - 33:34
    There's a wonderful concert
    at South Playel Sunday afternoon.
  • 33:34 - 33:35
    Brahms?
  • 33:35 - 33:37
    Do you like Brahms?
  • 33:38 - 33:39
    What's the matter?
  • 33:39 - 33:41
    I haven't been asked that since I was 17.
  • 33:41 - 33:43
    - And what did you answer?
    - Yes.
  • 33:43 - 33:45
    Of course I was in love
    and we went to the concert
  • 33:45 - 33:47
    and we sat high up in the balcony
  • 33:47 - 33:48
    and held hands and listened to Brahms.
  • 33:48 - 33:51
    Well, I'm not quite sure.
    Anyway, it was lovely.
  • 33:51 - 33:53
    - Then you do like it.
    - I don't know. It was so long ago.
  • 33:53 - 33:56
    Well, will you come to the concert
    with me and find out?
  • 33:56 - 33:58
    I am busy this weekend.
    I'm sorry.
  • 33:58 - 33:59
    I try to keep my weekends free.
  • 34:00 - 34:04
    Is it the man you were with last night?
  • 34:04 - 34:06
    - Yes.
    - Is it permanent?
  • 34:06 - 34:07
    Yes.
  • 34:08 - 34:10
    Goodbye. Thank you again.
  • 34:22 - 34:23
    - Funny.
    - What?
  • 34:23 - 34:25
    Men always smoke afterwards.
  • 34:25 - 34:27
    Do they? I never thought of that.
  • 34:28 - 34:31
    Oh, yes, they always do.
    Could I have one?
  • 34:31 - 34:34
    Yeah. You know
    such interesting things, Maisy.
  • 34:34 - 34:37
    I wish you'd tell me
    why you call me Maisie.
  • 34:37 - 34:39
    I have very poor memory for names.
  • 34:39 - 34:42
    - It makes life easier.
    - Do you call all your girls Maisie?
  • 34:42 - 34:44
    Yes.
  • 34:44 - 34:49
    Oh, I think that's cute.
    Which Maisie am I? Maisie 7?
  • 34:49 - 34:53
    Maisie 27?
    Maisy 127?
  • 34:54 - 34:57
    - Maisy number one.
    - Oh, how galant.
  • 34:58 - 35:00
    A little more champagne, please.
  • 35:01 - 35:05
    You know, I'm awfully glad you were
    at that cocktail party this afternoon.
  • 35:05 - 35:08
    So am I. But I don't know
    why you picked on me
  • 35:08 - 35:11
    with all those good-looking boys around.
  • 35:11 - 35:16
    Oh, those kids. They talk and talk.
    They just love to talk.
  • 35:17 - 35:22
    But you, the moment I saw you,
    I knew what you had on your mind.
  • 35:23 - 35:26
    Don't laugh.
    That's very rare these days.
  • 35:26 - 35:28
    Honest. Ask any girl.
  • 35:28 - 35:29
    How did you get rid of Cheryl?
  • 35:30 - 35:34
    Oh, poor André.
    He's awfully important in movies,
  • 35:34 - 35:36
    but if you only knew what a boy he is.
  • 35:37 - 35:40
    - I never will.
    - Don't worry about him.
  • 35:40 - 35:43
    Roger, let's go away for the weekend.
  • 35:43 - 35:47
    I'll bet you know some wonderful places
    around Paris, shall we?
  • 35:47 - 35:48
    You're free, aren't you?
  • 35:50 - 35:55
    I heard somewhere that you were
    sort of tied up. Is it true?
  • 35:57 - 35:59
    No. No. I'm free.
  • 36:02 - 36:05
    Yes, darling. Yes.
  • 36:05 - 36:09
    Well, no. I was waiting to hear from you
    to see what you want to do this weekend.
  • 36:11 - 36:12
    What?
  • 36:13 - 36:16
    Oh, I'm sorry, darling,
  • 36:16 - 36:19
    but the weekend is the only chance
    I can get to work on this deal.
  • 36:19 - 36:22
    The man is in Brussels,
    and I've got to go see him.
  • 36:22 - 36:26
    - It may mean a sale of 75 tractors.
    - Yes, I understand.
  • 36:26 - 36:30
    Of course, I do.
    Oh, I don't know.
  • 36:31 - 36:32
    I'll go to a movie, I guess.
  • 36:33 - 36:36
    Yes, I know she has
    a bridge game on Saturdays.
  • 36:36 - 36:40
    Who? No, no, I'm not going to call Jimmy.
  • 36:40 - 36:42
    Why should he take me out?
  • 36:43 - 36:46
    Oh, Roger, will you please stop
    trying to arrange my weekend?
  • 36:46 - 36:49
    Oh, no. Really, dear.
    If you feel badly about my going,
  • 36:49 - 36:50
    I'll see what I can do.
  • 36:50 - 36:52
    Oh, don't be silly.
    Of course you have to go.
  • 36:52 - 36:56
    I'll probably work this afternoon.
    One of my clients asked me to.
  • 36:56 - 36:58
    I said no, but I may as well now.
  • 36:59 - 37:04
    Yes, we'll both work. All right, darling.
    When will you get back?
  • 37:04 - 37:06
    Well, if you do, I'll be here.
  • 37:06 - 37:09
    And drive carefully.
    Yes, I will. Yeah.
  • 37:09 - 37:10
    Goodbye.
  • 37:34 - 37:35
    Hey.
  • 37:37 - 37:38
    Hello.
  • 37:42 - 37:45
    Sorry, darling.
    I'm late, but you know how it is.
  • 37:46 - 37:47
    Come here.
  • 38:08 - 38:11
    12,000 francs? Good grief!
  • 38:12 - 38:14
    - That's $24 a yard.
    - Yes.
  • 38:14 - 38:19
    Oh, I feel awful today.
    How much is that one?
  • 38:20 - 38:25
    - It's 14,000.
    - I'll take that one.
  • 38:25 - 38:26
    All right.
  • 38:27 - 38:29
    Well, there's nothing wrong
    with it, is there?
  • 38:29 - 38:30
    No, no, no. I like it.
  • 38:30 - 38:33
    Oh my. I am pleased
    with the way things are going.
  • 38:33 - 38:35
    You've done wonders in a short time.
  • 38:35 - 38:36
    Thank you.
  • 38:36 - 38:40
    Now, I may as well tell you
    I'm planning a dinner party on the 19th.
  • 38:40 - 38:42
    Well, that's a week from Wednesday.
  • 38:42 - 38:43
    Oh, but I couldn't.
  • 38:43 - 38:46
    Sorry, but I've already
    sent out the invitations.
  • 38:46 - 38:48
    Well, I'll do my best.
  • 38:48 - 38:50
    - And of course, you must come.
    - Thank you.
  • 38:50 - 38:54
    Now, if you look at these materials,
    Madame Van Der Besh...
  • 38:54 - 38:58
    Excuse me. I...
    Do call me Teresa.
  • 38:58 - 39:01
    I have picked this for your bedroom
    and this for your son's room.
  • 39:01 - 39:08
    As a matter of fact, I've sent an
    invitation to your friend, Roger Desmarais.
  • 39:08 - 39:10
    That's his name, isn't it?
  • 39:10 - 39:12
    I hear he's most attractive.
  • 39:13 - 39:16
    Oh, my dear, Paris is like a small town.
  • 39:16 - 39:19
    Really. Everyone knows
    everyone's business.
  • 39:19 - 39:22
    Now, would you like some tea?
    No, thank you.
  • 39:22 - 39:24
    But I do wish you'd look
    at these materials.
  • 39:24 - 39:27
    Oh, Paula,
    I couldn't look at another thing today.
  • 39:27 - 39:31
    I trust you implicitly.
    Only just don't spend too much money.
  • 39:31 - 39:32
    Madame.
  • 39:32 - 39:34
    - Will you bring us some tea, please?
    - Oui. madame.
  • 39:34 - 39:36
    I thought this for your son.
  • 39:36 - 39:39
    I couldn't possibly tell you
    what Philip would like.
  • 39:39 - 39:40
    Not possibly.
  • 39:40 - 39:41
    He's not that difficult.
  • 39:41 - 39:45
    He's impossible. He's practically
    a manic depressive.
  • 39:45 - 39:47
    Loves the world, hates the world.
  • 39:47 - 39:50
    Just like his father.
    He drinks, you know.
  • 39:51 - 39:53
    Oh, his father drank, too.
  • 39:53 - 39:57
    But charming.
    Oh, there you are, darling.
  • 39:57 - 39:59
    We were just talking about you.
  • 39:59 - 40:03
    - I'm in luck. Hello.
    - Hello. I'm sorry. I have to go.
  • 40:03 - 40:05
    But you haven't had your tea.
  • 40:05 - 40:06
    Thank you, but I have things to do,
  • 40:06 - 40:08
    and thank you for giving me the time.
  • 40:08 - 40:10
    - I'll call you on Friday.
    - Goodbye, my dear.
  • 40:10 - 40:14
    - Don't forget the 19th.
    - No, I won't.
  • 40:14 - 40:15
    Goodbye.
  • 40:15 - 40:17
    I'll see you out.
  • 40:21 - 40:23
    - What is it?
    - Nothing.
  • 40:23 - 40:24
    Anything wrong?
  • 40:24 - 40:26
    No. Can I come down with you?
  • 40:34 - 40:37
    - I didn't expect to see you today.
    - No.
  • 40:37 - 40:40
    - What happened to your weekend?
    - Roger was called away on business.
  • 40:40 - 40:41
    I see.
  • 40:54 - 40:56
    - Goodbye.
    - Goodbye.
  • 41:00 - 41:02
    The switch is behind you.
  • 41:11 - 41:13
    Let me go.
  • 41:16 - 41:19
    Let me go. You're annoying me.
  • 41:25 - 41:28
    Phillip, please let me go.
  • 41:43 - 41:46
    - Gabby.
    - I'm coming.
  • 41:47 - 41:48
    Good morning, madame.
  • 41:49 - 41:53
    I love you every day of the week,
    but on Sunday mornings, I adore you.
  • 41:53 - 41:55
    I could bring you breakfast every morning.
  • 41:55 - 41:57
    Too sinful, Gabby. Too sinful.
  • 41:57 - 41:59
    Oh, is there no more black cherry jam?
  • 41:59 - 42:00
    What a shame.
  • 42:00 - 42:01
    I'll get some tomorrow.
  • 42:01 - 42:03
    - There's a message for you.
    - Where is it?
  • 42:03 - 42:05
    It was on the telephone. Very early.
  • 42:05 - 42:08
    - He said he didn't want to disturb you.
    - Monsieur?
  • 42:08 - 42:10
    No, another monsieur.
  • 42:10 - 42:13
    He wouldn't give his name, but he made
    me say the message over and over.
  • 42:14 - 42:16
    Oh, and what is the message?
  • 42:17 - 42:21
    I'm sorry about yesterday.
    Do you like Brahms?
  • 42:23 - 42:25
    You understand it?
  • 42:25 - 42:30
    - Yes. Yes, I understand it.
    - But what are Brahms?
  • 42:31 - 42:36
    Look over there.
    The second album from the top.
  • 42:38 - 42:41
    Yes, that's it. Put it on. Fine.
  • 42:41 - 42:43
    Now the first switch.
  • 42:49 - 42:52
    Those are Brahms music.
  • 42:58 - 42:59
    You'd better get dressed.
  • 43:00 - 43:03
    Do I have to?
    What time is it?
  • 43:03 - 43:04
    About 5:30.
  • 43:05 - 43:08
    Why don't we stay over tonight
    and go in tomorrow?
  • 43:08 - 43:10
    - Nope.
    - Why not?
  • 43:10 - 43:13
    - I have to be in Paris tonight.
    - Why?
  • 43:14 - 43:17
    - None of your business.
    - I'm not going.
  • 43:18 - 43:20
    - What?
    - I'm not going,
  • 43:23 - 43:24
    Maisy.
  • 43:25 - 43:26
    - Maisy.
    - No.
  • 43:27 - 43:29
    - Come on, Misy.
    - I want to stay here.
  • 43:30 - 43:31
    - Stop. Maisy, will you?
    - No.
  • 43:31 - 43:33
    - Please, M...
    - I want to stay here.
  • 43:34 - 43:35
    Stop.
  • 43:53 - 43:55
    - Hello.
    - Hello.
  • 43:55 - 43:57
    I'm glad you decided
    that you like Brahms.
  • 43:57 - 43:59
    Do I? Well, I don't really know.
  • 43:59 - 44:01
    It doesn't matter so long as you're here.
  • 44:12 - 44:14
    I can look, can't I?
  • 46:10 - 46:10
    Sorry.
  • 46:39 - 46:42
    Makes no difference.
    I especially said extra dry.
  • 46:43 - 46:45
    - What's the matter?
    - Oh, nothing.
  • 46:46 - 46:48
    Oh, there's the bell. Don't you think
    we should be getting back?
  • 46:48 - 46:50
    Intermission is almost over.
  • 46:50 - 46:52
    Will you have dinner
    with me after the concert?
  • 46:52 - 46:54
    I can't. I have to get home.
  • 46:54 - 46:57
    I thought you said he'd gone away
    for the weekend on business.
  • 46:57 - 46:58
    I expect Roger back tonight.
  • 46:58 - 46:59
    What if he doesn't show up?
  • 47:00 - 47:02
    Well, then I'll have dinner alone.
  • 47:03 - 47:05
    He must be quite a man
    to deserve such devotion.
  • 47:05 - 47:07
    Such blind self-sacrifice.
  • 47:07 - 47:10
    - I love him.
    - What about him?
  • 47:11 - 47:13
    - What about him?
    - Does he love you?
  • 47:13 - 47:17
    Yes, of course. All is for the best
    in his best of all worlds.
  • 47:17 - 47:20
    Don't play the cynic.
    It doesn't suit you.
  • 47:20 - 47:22
    At your age,
    you ought to believe in such things.
  • 47:22 - 47:25
    Stop making fun of me. Stop talking down
    to me as if I were 5 years old.
  • 47:29 - 47:30
    Sorry.
  • 47:30 - 47:33
    I'm not making fun of you,
    but of the parts you keep playing.
  • 47:33 - 47:36
    - If you would just be yourself.
    - It's true.
  • 47:36 - 47:39
    Since I've known you, I've played
    the brilliant young lawyer,
  • 47:39 - 47:42
    the bashful lover, the spoiled child,
  • 47:42 - 47:44
    God knows what else.
  • 47:44 - 47:47
    But it's all been for you, only for you.
  • 47:47 - 47:49
    Don't you think that's love?
  • 47:50 - 47:51
    We'd better hurry.
  • 48:10 - 48:12
    I am sorry we are late.
  • 48:31 - 48:36
    How long has...
    How long have you and Roger...?
  • 48:38 - 48:40
    5 years.
  • 48:41 - 48:44
    - And you've been happy.
    - Yes, I have.
  • 48:44 - 48:47
    - Always?
    - There's no always.
  • 48:47 - 48:53
    I've had 5 years of happiness
    and doubt and warmth and pain...
  • 48:55 - 48:57
    But only the happiness matters.
  • 48:58 - 48:59
    You're not happy now.
  • 49:00 - 49:02
    - Yes, I am.
    - No, I know you're not.
  • 49:02 - 49:03
    I told you I love him.
  • 49:03 - 49:05
    And I love my mother
    and my old nurse and my...
  • 49:05 - 49:08
    - I don't see what that's got to do.
    - No, you say you love him, but you're alone.
  • 49:08 - 49:11
    You spend your Sundays alone.
    You're dying alone.
  • 49:11 - 49:13
    - How often do you sleep alone?
    - You have no right.
  • 49:13 - 49:15
    I have the right.
  • 49:16 - 49:19
    I have the right to fall in love with you
    and nothing can stop me,
  • 49:19 - 49:21
    and I shall take you away
    from him if I can.
  • 49:24 - 49:25
    I will.
  • 49:26 - 49:27
    I will.
  • 49:46 - 49:47
    What's that?
  • 49:48 - 49:50
    - Brahms.
    - How do you know?
  • 49:51 - 49:56
    - Well, the announcer said so.
    - Do you like it?
  • 49:59 - 50:02
    Oh, Sunday afternoon
    so awful on the radio.
  • 50:03 - 50:04
    Put it back where it was.
  • 50:04 - 50:06
    Oh, well, there's nothing else.
  • 50:08 - 50:12
    Funny. When I was eight,
    I wanted to be a conductor.
  • 50:15 - 50:18
    I wanted to be a movie star,
    and I'm going to be.
  • 50:19 - 50:22
    I've got to have dinner with Charelle
    tomorrow night,
  • 50:22 - 50:24
    but I'll call you
    as soon as I can get away.
  • 50:24 - 50:26
    - All right?
    - Yeah. Yeah.
  • 50:26 - 50:28
    It's not nice of you to leave me tonight.
  • 50:28 - 50:30
    I'm going to miss you.
  • 50:31 - 50:34
    - Maisy, I can't drive.
    - Don't be silly.
  • 50:34 - 50:36
    You're a wonderful driver.
  • 50:36 - 50:39
    As a matter of fact,
    you do everything well.
  • 51:33 - 51:34
    Hello.
  • 51:36 - 51:36
    Hey.
  • 51:37 - 51:40
    - What's the matter?
    - Nothing. I'm just so glad to see you.
  • 51:40 - 51:41
    - How was your trip?
    - Fine.
  • 51:43 - 51:45
    - Did you just come in?
    - Yes.
  • 51:46 - 51:47
    Where have you been?
  • 51:47 - 51:50
    - I've been to a concert at Salle Pleyel.
    - Oh, do you like Brahms?
  • 51:52 - 51:53
    Why did you ask that?
  • 51:54 - 51:56
    I heard it on the radio driving back.
  • 51:56 - 51:58
    Oh, how did you happen to go?
  • 51:58 - 52:02
    - I... Young Van Der Besh asked me.
    - Oh.
  • 52:02 - 52:06
    And I had nothing to do and I couldn't
    remember whether I liked Brahms or not.
  • 52:06 - 52:08
    A young boy asked me
    a silly trite question
  • 52:08 - 52:10
    and I didn't have an answer.
    I'd forgotten.
  • 52:11 - 52:15
    I can't keep my mind on anything lately
    except the man I love is never around.
  • 52:15 - 52:17
    Well, what is it?
  • 52:18 - 52:20
    I told you someone asked me a question.
  • 52:21 - 52:22
    But I have no answers anymore.
  • 52:22 - 52:25
    And all the questions seem
    so important suddenly.
  • 52:25 - 52:27
    Do I like Brahms?
    What is my favorite color?
  • 52:27 - 52:29
    Do I like roses? Do I love you?
  • 52:30 - 52:32
    What's happened?
    What's that boy been saying to you?
  • 52:32 - 52:35
    What difference does it make
    as long as I love you?
  • 52:35 - 52:37
    And you know the answer
    to that one, don't you?
  • 52:37 - 52:39
    - What have you been doing?
    - Listening to Brahms.
  • 52:39 - 52:41
    Oh, stop talking about Brams.
  • 52:41 - 52:42
    I can't leave him out.
  • 52:42 - 52:46
    - Well, what's this about? Is it me?
    - Yes, you and me.
  • 52:48 - 52:51
    - You know that I love you.
    - No, I don't.
  • 52:51 - 52:53
    I don't know anything anymore.
  • 52:53 - 52:56
    Oh, Roger, has time
    caught up with me already?
  • 52:57 - 52:58
    Already?
  • 53:00 - 53:03
    Paula, what do you want me to tell you?
  • 53:03 - 53:05
    That you're the most important thing
    in the world to me?
  • 53:05 - 53:07
    Well, that someone was always there.
  • 53:07 - 53:11
    The one that you can be sure of,
    to love, and to trust when you want to.
  • 53:12 - 53:15
    Sometimes I wish I was one
    of the sluts you pick up in bars,
  • 53:15 - 53:19
    not to be trusted or esteemed or admired.
    Just to be loved.
  • 53:19 - 53:21
    You know they mean nothing to me.
  • 53:22 - 53:23
    Yes I know.
  • 53:23 - 53:26
    It's how I am.
    I've never tried to hide it.
  • 53:26 - 53:29
    - Oh, you've been honest.
    - You don't really care.
  • 53:30 - 53:31
    You've said so.
  • 53:32 - 53:33
    That's right.
  • 53:34 - 53:37
    - Well, then as long as we're honest...
    - We can be self-indulgent.
  • 53:37 - 53:39
    Well, then what's wrong?
  • 53:39 - 53:41
    I wish you and I were
    falling in love again.
  • 53:41 - 53:42
    That's all.
  • 53:42 - 53:44
    We were so sure of the future then.
  • 53:44 - 53:47
    I'm sure of it now. Nothing has changed.
  • 53:47 - 53:49
    Well, we can go on just as we are?
  • 53:49 - 53:50
    - Of course.
    - For ever?
  • 53:50 - 53:53
    Sure, why not? I love you.
  • 54:00 - 54:02
    You've had a bad weekend, Paula.
  • 54:03 - 54:06
    I should not have left you.
    I'm sorry I had to.
  • 54:08 - 54:09
    It's all right.
  • 54:10 - 54:13
    - Where should we dine?
    - Where would you like?
  • 54:13 - 54:16
    Oh, I don't care. I'll just change
    into another dress and fix my face.
  • 54:17 - 54:21
    It won't take a minute.
    Oh, look. Your mask fell down.
  • 54:25 - 54:26
    No harm done.
  • 54:30 - 54:32
    Tell me, what about L'Escargot?
  • 54:32 - 54:35
    - Do you think we can get in?
    - I think so.
  • 54:35 - 54:37
    Don't you want a drink?
  • 54:39 - 54:42
    - Would you like one?
    - No, thank you.
  • 54:43 - 54:47
    Well, tell me, how was Brussels?
    Was your trip successful?
  • 54:48 - 54:49
    Yes, fine.
  • 54:50 - 54:52
    You don't sound very enthusiastic.
  • 54:53 - 54:57
    - What about Chez Allard?
    - I don't think they're open on Sundays.
  • 54:57 - 55:00
    No, no. L'Escargot go will be fine.
  • 55:01 - 55:03
    - Roger.
    - Yes.
  • 55:03 - 55:05
    I'm glad you came home tonight.
  • 55:05 - 55:08
    - So am I.
    - Was the traffic awful?
  • 55:08 - 55:12
    It's always bad on Sunday, but the parkway
    is quick, even when it's crowded.
  • 55:12 - 55:15
    Parkway, but there's
    no parkway from Brussels.
  • 55:17 - 55:19
    No, of course not.
  • 55:19 - 55:20
    Did I say parkway?
  • 55:21 - 55:25
    They fit their road so well,
    it seems like a parkway now.
  • 55:25 - 55:28
    I made wonderful time.
  • 55:30 - 55:33
    - Well, that's good.
    - What about some place with music?
  • 55:34 - 55:35
    Might be nice.
  • 55:38 - 55:41
    I don't know which ones are open.
    We can drive around and see.
  • 55:42 - 55:43
    All right.
  • 55:46 - 55:49
    - Is that the door?
    - Yes. Yes, I'll go.
  • 55:56 - 55:58
    - Hello, Gabby.
    - What's wrong with you?
  • 55:58 - 55:59
    Who is this?
  • 56:00 - 56:00
    Gabby.
  • 56:01 - 56:03
    - A letter for you.
    - All right.
  • 56:03 - 56:07
    How's your English, Gabby?
    I haven't seen you for a long time.
  • 56:07 - 56:09
    I've been here.
  • 56:13 - 56:18
    - Who is it from?
    - I don't know. It came by hand.
  • 56:19 - 56:20
    - Here.
    - Thank you.
  • 56:20 - 56:23
    Do you mind reading it to me, darling?
  • 56:23 - 56:26
    - It may be personal.
    - I don't think so.
  • 56:29 - 56:32
    It is. It's from young Van der Besh.
  • 56:33 - 56:35
    It doesn't matter.
  • 56:35 - 56:38
    We have no secrets
    from each other, have we?
  • 56:42 - 56:45
    I ask you to forgive me. I was jealous.
  • 56:45 - 56:48
    And you can only be jealous
    of things that you own.
  • 56:49 - 56:51
    Well, now you'll be rid of me for a while.
  • 56:51 - 56:55
    I'm leaving for London tomorrow to work
    on a case and it's very important.
  • 56:56 - 57:00
    But I don't really care because
    all of the time I'll be thinking of you.
  • 57:02 - 57:09
    Please, please remember, even if you never
    want to see me again, that I love you.
  • 57:12 - 57:14
    Your Phillip.
  • 57:19 - 57:22
    - I'm ready.
    - You haven't said where you want to go.
  • 57:23 - 57:25
    Oh, I think some place with music
    would be nice, don't you?
  • 57:30 - 57:31
    It is true, Milord,
  • 57:31 - 57:35
    as my learned friend suggested,
    that the facts do seem simple.
  • 57:35 - 57:36
    On a certain day,
  • 57:36 - 57:38
    at a certain time, in a certain place,
  • 57:38 - 57:41
    two ships collided.
    One English, one French.
  • 57:41 - 57:46
    - The papers you asked for in Paris.
    - Good. How's it going?
  • 57:46 - 57:48
    - Fine.
    - Here's a letter for you too.
  • 57:49 - 57:52
    I wonder how my learned friend
    will explain away
  • 57:52 - 57:57
    in simple terms the testimony
    of witness Sharp, who stated that,
  • 58:00 - 58:02
    at no time during the 10 minutes
  • 58:02 - 58:06
    preceding the collision,
    did I hear a signal from the English ship.
  • 58:07 - 58:11
    Complication upon complication.
    There is too the question of the fog.
  • 58:11 - 58:15
    Witness Glennville states that the fog
  • 58:15 - 58:17
    was lifting, but witness Olivier states
  • 58:17 - 58:20
    emphatically that the fog was thickening.
  • 58:20 - 58:24
    There is too the testimony
    of the quartermaster Bellnap,
  • 58:29 - 58:33
    who was forced to admit that
    he had left the bridge a few moments
  • 58:33 - 58:35
    earlier to get more sugar for his coffee.
  • 58:36 - 58:40
    Let me recall to your memory, Milord,
    the statement of Seaman Jeandran,
  • 58:42 - 58:43
    - What?
    - I'm sorry.
  • 58:43 - 58:45
    ...radar screen at a distance
    of three miles.
  • 58:56 - 58:59
    London airport, please.
    Butt first up at Doorchester.
  • 59:10 - 59:12
    It's beautifully done.
    Don't you think so, Lucien?
  • 59:12 - 59:13
    Yes, my dear.
  • 59:13 - 59:15
    Well, thank you, Myrtle.
    Is she expensive?
  • 59:15 - 59:17
    Not with me, my dear. Not with me.
  • 59:17 - 59:19
    - And who is he?
    - Who?
  • 59:19 - 59:23
    - He.
    - He's in the truck business or something.
  • 59:23 - 59:26
    - I think that's what she told me.
    - I must say he looks it.
  • 59:26 - 59:27
    Is he?
  • 59:27 - 59:29
    He seems rather attractive.
  • 59:29 - 59:31
    You think so?
  • 59:32 - 59:34
    Yes, as a matter of fact, he is rather.
  • 59:36 - 59:37
    Please, Roger, don't be bored.
  • 59:38 - 59:41
    Bored? How could I possibly be bored
    with such a charming gay crowd?
  • 59:41 - 59:44
    At least try to be nice to
    Madame Van der Besh.
  • 59:44 - 59:45
    You haven't even talked to her.
  • 59:45 - 59:50
    Yes, I have. I said "Good evening."
    And "It was nice of you to ask me."
  • 59:50 - 59:51
    Please, here she comes.
  • 59:51 - 59:54
    Paula, dear, everyone
    adores the apartment.
  • 59:54 - 59:56
    I've never heard people rave so.
  • 59:56 - 59:57
    I'm glad.
  • 59:59 - 60:02
    - He should be very proud of you, Paula.
    - Oh, I am, madame.
  • 60:02 - 60:06
    And you have something
    to do with trucks, haven't you?
  • 60:06 - 60:08
    Oh, how interesting.
  • 60:08 - 60:11
    You buy trucks in America,
    then sell them in Europe.
  • 60:11 - 60:14
    And sometimes we buy them in Europe
    and sell them in America.
  • 60:14 - 60:16
    We are very flexible.
  • 60:17 - 60:20
    Fascinating. Isn't it sad
    Philillip isn't here to see you?
  • 60:20 - 60:22
    You do look so lovely.
    Philip's my son.
  • 60:22 - 60:25
    He'll be furious when he hears
    he's missed you,
  • 60:25 - 60:28
    but he had to go to London
    on something terribly legal.
  • 60:28 - 60:31
    Did he tell you?
    Philip's mad about Paula, you know?
  • 60:32 - 60:34
    - It's really quite touching.
    - Yes, I know.
  • 60:36 - 60:38
    All right, Suzanne. Maraine
  • 60:38 - 60:40
    Claw. Dinner. Dinner. Everybody.
  • 60:40 - 60:42
    Raymond, you're sitting next to Madame
  • 60:42 - 60:46
    Flor. Alier, you're sitting with Madame
  • 60:46 - 60:48
    Tessier. Pauladier. Talk to him about
  • 60:48 - 60:50
    modern paintings. He has a fabulous
  • 60:50 - 60:53
    collection. And you're next to me, Mr.
  • 60:53 - 60:55
    Dele. Whoa. And you're going to tell me
  • 60:55 - 60:57
    all about your trucks and what you do
  • 60:57 - 61:00
    with them. You're a Leo, aren't you? I
  • 61:00 - 61:02
    beg you pardon. Well, you must have been
  • 61:02 - 61:04
    born in late July or early August. No,
  • 61:04 - 61:08
    early me. Oh, Taurus the ball. Well, I
  • 61:08 - 61:11
    suppose I should have guessed.
  • 61:11 - 61:13
    See, this is always the most difficult
  • 61:13 - 61:14
    part, trying to get people to find the
  • 61:14 - 61:17
    right places. I can never read my own
  • 61:17 - 61:20
    writing. France, you're here. Mariline
  • 61:20 - 61:24
    over there. Claude, you're next. Oh,
  • 61:24 - 61:27
    here. Oh, yes. Yes. And Buladier, you're
  • 61:27 - 61:28
    here. Oh, no. No. I'm sorry, darling.
  • 61:28 - 61:30
    You're on the other side over there.
  • 61:30 - 61:32
    Alan, you're on her right. Raymond on
  • 61:32 - 61:34
    her left. That's right. Lucen, you're
  • 61:34 - 61:36
    next to France on her right there.
  • 61:36 - 61:38
    Murder, you're here.
  • 61:38 - 61:41
    I'm sorry, but I must be frank with you.
  • 61:41 - 61:43
    I think it's all nonsensical. They call
  • 61:43 - 61:46
    themselves abstract expressionists, but
  • 61:46 - 61:48
    what do they express? That's what I want
  • 61:48 - 61:50
    to know.
  • 61:50 - 61:54
    Yes. Yes. Isn't it?
  • 61:54 - 61:57
    We We were just talking about Jean Prey.
  • 61:57 - 61:58
    Of course, you know about his latest
  • 61:58 - 62:00
    affair. I'm afraid I don't even know who
  • 62:00 - 62:03
    the gentleman is. You don't know Jean?
  • 62:03 - 62:06
    No. I'm sorry. No. And I can't think why
  • 62:06 - 62:08
    his latest affair should interest me.
  • 62:08 - 62:13
    Unless Unless Unless the lady's my wife.
  • 62:13 - 62:15
    And happily, I'm not married. Oh, that's
  • 62:15 - 62:17
    rather a narrow point of view, don't you
  • 62:17 - 62:19
    think? If everyone were like you, what
  • 62:19 - 62:21
    would it be all about?
  • 62:21 - 62:23
    Phillip.
  • 62:23 - 62:24
    Good
  • 62:24 - 62:26
    evening. Hope I'm not disturbing you.
  • 62:26 - 62:28
    Well, Philip, we didn't expect you until
  • 62:28 - 62:31
    Saturday. Well, I uh I thought I'd
  • 62:31 - 62:33
    surprise you. Philip, what's happened?
  • 62:33 - 62:35
    Was the case settled? No, but it's it's
  • 62:35 - 62:37
    going very well. It's going very well
  • 62:37 - 62:38
    indeed. Well, darling, have you had your
  • 62:38 - 62:40
    dinner? Oh, yes. I had something on the
  • 62:40 - 62:41
    plane. I'll just sit here and keep you
  • 62:41 - 62:43
    company.
  • 62:43 - 62:45
    No, no, no, no. Marcel, Mr. Phillips had
  • 62:45 - 62:47
    dinner. Hello.
  • 62:47 - 62:50
    Hello. I must say to Razor Phillip is
  • 62:50 - 62:52
    looking well. Hard work agrees with him.
  • 62:52 - 62:54
    Yes. I don't think hard work I got your
  • 62:54 - 62:56
    note. Just caught up with me. I came
  • 62:56 - 62:58
    straight back. Would you like some
  • 62:58 - 63:02
    fruit? Oh, no. No, thank you.
  • 63:02 - 63:04
    I never thought I could hate London so
  • 63:04 - 63:06
    much.
  • 63:19 - 63:21
    Well, you're in luck. Mother would like
  • 63:21 - 63:22
    to talk to you. And you would like to
  • 63:22 - 63:25
    talk to Paula. That's right. Wait a
  • 63:25 - 63:28
    minute. There's something I want to ask
  • 63:28 - 63:32
    you. What? I
  • 63:32 - 63:36
    uh I wonder if I could have a cigar.
  • 63:36 - 63:38
    Of course.
  • 63:41 - 63:43
    What did you say to Philillip? I asked
  • 63:43 - 63:47
    him for a cigar. Why? He looked angry.
  • 63:47 - 63:48
    He wasn't.
  • 63:48 - 63:51
    Should I have been? Well, I don't know.
  • 63:51 - 63:54
    Here we are. Oh, thank you.
  • 63:54 - 63:57
    Do you like cigars? No. No,
  • 63:57 - 63:59
    unfortunately. Can I get you something
  • 63:59 - 64:01
    to drink? No, no, thank you. I think we
  • 64:01 - 64:03
    should be going home. I have to get up
  • 64:03 - 64:05
    early. Oh, well, if Paula isn't tired, I
  • 64:05 - 64:07
    can drive her home later. I suppose you
  • 64:07 - 64:10
    could. Would you like that, darling?
  • 64:10 - 64:14
    No, I'm It's getting late. Good night.
  • 64:14 - 64:18
    Good night.
  • 64:22 - 64:24
    You certainly brightened up that
  • 64:24 - 64:27
    party. It was dying until young love
  • 64:27 - 64:29
    came along.
  • 64:29 - 64:32
    Now they've got something to talk
  • 64:32 - 64:34
    about. Have you heard about one of
  • 64:34 - 64:37
    Vanderbash's interior decorator?
  • 64:37 - 64:39
    You did over the apartment and seduce
  • 64:39 - 64:42
    her son at no extra
  • 64:42 - 64:44
    charge. I think you've got something
  • 64:44 - 64:46
    there,
  • 64:46 - 64:48
    Paula. If you're going to do the young
  • 64:48 - 64:51
    master's bedroom, why not do the young
  • 64:51 - 64:53
    master? Makes the work so much more
  • 64:53 - 64:56
    interesting.
  • 65:10 - 65:14
    You're going away tomorrow? Yes. Where?
  • 65:14 - 65:16
    I told you. Switzerland, Denmark,
  • 65:16 - 65:18
    Germany.
  • 65:18 - 65:21
    How long will you be gone? About 10
  • 65:21 - 65:24
    days.
  • 65:28 - 65:32
    Ro, good night.
  • 65:49 - 65:52
    Phillip. But how did you get here? You
  • 65:52 - 65:54
    must have driven like a fool. Get in,
  • 65:54 - 65:57
    please. Why do you do such idiotic
  • 65:57 - 66:01
    things? Please, just for a moment.
  • 66:03 - 66:05
    Why did you come back from London? To
  • 66:05 - 66:11
    see you. Oh, but why? Why? Your letter.
  • 66:11 - 66:14
    Well, that's really What did I say? Come
  • 66:14 - 66:18
    back soon. Oh, no.
  • 66:20 - 66:22
    My sweet Phillip, your letter was too
  • 66:22 - 66:25
    sad and more than I deserve. I miss you.
  • 66:25 - 66:28
    Come back soon.
  • 66:28 - 66:31
    I didn't mean it that way.
  • 66:31 - 66:35
    I I was tired and unhappy and and
  • 66:35 - 66:38
    lonely and and oh, I'm sorry. I
  • 66:38 - 66:40
    shouldn't have written it. But you meant
  • 66:40 - 66:42
    it.
  • 66:42 - 66:46
    I suppose so. Then
  • 66:46 - 66:50
    has anything changed since then?
  • 66:52 - 66:55
    No, nothing has changed.
  • 66:55 - 66:58
    Wow.
  • 67:12 - 67:15
    Here you are. SAS 252. Now you can board
  • 67:15 - 67:17
    the aircraft. This way, please.
  • 67:17 - 67:18
    Gentlemen, do you mark Copenhagen going
  • 67:18 - 67:22
    to meet us? Yeah, I still have a car. Ro
  • 67:22 - 67:24
    Scandinavian Airlines announc the
  • 67:24 - 67:26
    departure of flight. You go ahead. I'll
  • 67:26 - 67:27
    catch up. We haven't got much time.
  • 67:27 - 67:29
    Don't worry. All passengers are kindly
  • 67:29 - 67:31
    requested to proceed to customs and
  • 67:31 - 67:33
    passport.
  • 67:33 - 67:34
    What are you doing here? I called you at
  • 67:34 - 67:36
    home, but you' already gone. I wanted to
  • 67:36 - 67:40
    see you. Come over here.
  • 67:40 - 67:42
    I'm sorry about last night. I was angry.
  • 67:42 - 67:43
    I was actually jealous. I wanted to call
  • 67:43 - 67:46
    you. Will you take me with you? What? I
  • 67:46 - 67:47
    want to come with you. Can I? Paul, it
  • 67:47 - 67:48
    makes sense. The plane is leaving in.
  • 67:48 - 67:50
    Yes, I know. But I'll go home and pack a
  • 67:50 - 67:51
    bag and I'll join you wherever you are
  • 67:51 - 67:53
    tonight. Where will you be, darling? I
  • 67:53 - 67:54
    have two men with me from the home
  • 67:54 - 67:56
    office in Chicago. How would I explain?
  • 67:56 - 67:58
    But say I'm your wife. Americans always
  • 67:58 - 67:59
    travel with their wives. They'll
  • 67:59 - 68:01
    understand. Paul, this is
  • 68:01 - 68:04
    crazy. Is it because of that boy?
  • 68:04 - 68:08
    Because of me? Please. Please. Hey.
  • 68:08 - 68:11
    Yes. I'm coming. Paula, don't worry.
  • 68:11 - 68:13
    I'll come back to you soon. 10 days no
  • 68:13 - 68:15
    more. Get rid of that boy. Paul bothers
  • 68:15 - 68:18
    you. And don't worry, everything will be
  • 68:18 - 68:23
    all right. You'll see.
  • 68:24 - 68:26
    Well, you know, I love you. I'll call
  • 68:26 - 68:28
    you when I get back. Goodbye, darling.
  • 68:28 - 68:29
    Attention, please.
  • 68:29 - 68:34
    Will SAS pass on flight 252. Please
  • 68:34 - 68:36
    proceed immediately to customs and
  • 68:36 - 68:40
    passport control. Thank you.
  • 68:42 - 68:46
    law for 40 years and never never did I
  • 68:46 - 68:47
    hear of anyone walking out in the middle
  • 68:47 - 68:50
    of a
  • 68:50 - 68:52
    let me tell you something if it were not
  • 68:52 - 68:53
    for your mother I would ask you to leave
  • 68:53 - 68:57
    at once as it is I'm ready to put you to
  • 68:57 - 69:01
    work on research I start by this he
  • 69:01 - 69:04
    calling pages no I'm afraid Mr.
  • 69:04 - 69:06
    Vanderbesh is occupied at the moment.
  • 69:06 - 69:10
    Oh, just a minute, please.
  • 69:10 - 69:11
    Oh, here he is now. Hold the line,
  • 69:11 - 69:13
    please. Well, you certainly caught it
  • 69:13 - 69:15
    that time. What do you say? I don't
  • 69:15 - 69:16
    know. I wasn't listening. What's this?
  • 69:16 - 69:18
    It's personal call for you. A woman's
  • 69:18 - 69:20
    voice, and it's not your mother.
  • 69:20 - 69:24
    Hello. Yes, Paul. Yes, of course, we can
  • 69:24 - 69:26
    talk. Listen, tonight, I thought we
  • 69:26 - 69:29
    could I'm afraid I I can't. What do you
  • 69:29 - 69:31
    mean? I can't see you again, Philip.
  • 69:31 - 69:33
    Please try to understand that. Whatever
  • 69:33 - 69:35
    happens would only hurt you. Don't try
  • 69:35 - 69:37
    to see me. Please. Will you promise me
  • 69:37 - 69:41
    that, Phillip? Phillip, you must promise
  • 69:41 - 69:43
    me, please.
  • 69:43 - 69:48
    Yes. Yes. Of of course.
  • 70:00 - 70:04
    Say no
  • 70:05 - 70:09
    more. It's
  • 70:09 - 70:12
    goodbye as
  • 70:13 - 70:16
    before. It's
  • 70:17 - 70:19
    goodbye. I can
  • 70:20 - 70:24
    tell. Save the lie.
  • 70:24 - 70:30
    It's farewell and goodbye again, my
  • 70:30 - 70:36
    love. So why deny you? Let's go. I've
  • 70:36 - 70:38
    had it.
  • 70:38 - 70:39
    Well, come on, will you? We've been
  • 70:39 - 70:42
    going like this for days.
  • 70:42 - 70:43
    You said you'd give two years of your
  • 70:43 - 70:45
    life to be really in love. Yeah, I know
  • 70:45 - 70:49
    I said it. I'm sorry I said it. That was
  • 70:49 - 70:53
    way back. Well, I am in love, but she
  • 70:53 - 70:56
    won't believe me. I believe you. You
  • 70:56 - 70:59
    told me a thousand times. Now, let's go.
  • 70:59 - 71:01
    Huh? Phillip, come
  • 71:01 - 71:04
    on. I'm
  • 71:04 - 71:08
    going. You'll be all right. Yeah. I'll
  • 71:08 - 71:12
    check you tomorrow. So long.
  • 71:15 - 71:19
    Hello. Your pal's gone. Left you, huh?
  • 71:19 - 71:21
    You talk about love as if you knew all
  • 71:21 - 71:23
    about love. I
  • 71:23 - 71:27
    do. You going to buy me a drink?
  • 71:27 - 71:30
    Sure.
  • 71:30 - 71:33
    Desc.
  • 71:35 - 71:40
    Tell you what about love? Oh, it's kind
  • 71:40 - 71:42
    of hard to explain unless it's nothing.
  • 71:42 - 71:45
    It's just a word in a song. It's in a
  • 71:45 - 71:47
    million songs. You've said it just
  • 71:47 - 71:50
    right. It's the most used word in the
  • 71:50 - 71:52
    world and it doesn't mean a thing. Just
  • 71:52 - 71:53
    a word in a
  • 71:53 - 71:55
    song.
  • 71:55 - 71:59
    Well, here's to little old love.
  • 71:59 - 72:01
    Here's a little old
  • 72:01 - 72:04
    love. Going to sing me another.
  • 72:11 - 72:13
    Well,
  • 72:13 - 72:16
    love is just a word.
  • 72:16 - 72:20
    It doesn't mean a
  • 72:20 - 72:23
    thing. It's a fancy way of
  • 72:24 - 72:27
    saying two people want to
  • 72:29 - 72:33
    swing. Love is just a
  • 72:33 - 72:37
    word. And when the fun
  • 72:38 - 72:41
    begins, a word we use to cover a
  • 72:41 - 72:46
    multitude of sins.
  • 72:47 - 72:51
    Love is just a
  • 72:51 - 72:55
    word that's
  • 72:55 - 72:59
    dropped all over town.
  • 73:23 - 73:25
    How long have you been here? I don't
  • 73:25 - 73:27
    know.
  • 73:31 - 73:34
    You must be wet through. I had to see
  • 73:34 - 73:37
    you. I tried not to, but it's all right.
  • 73:37 - 73:38
    Since you sent me away, I don't know
  • 73:38 - 73:41
    where I've been or what I've done. How
  • 73:41 - 73:44
    about you? Oh, me? I
  • 73:44 - 73:47
    worked. I went to collection. Bought a
  • 73:47 - 73:49
    new
  • 73:49 - 73:51
    dress. They're tearing up the street in
  • 73:51 - 73:54
    front of my house. Oh, I know. I almost
  • 73:54 - 73:56
    got stuck in my car.
  • 73:56 - 74:00
    It'll be fixed in a few days.
  • 74:30 - 74:32
    Paul, are you sure you don't want Think
  • 74:32 - 74:33
    some good looking cold chicken in the
  • 74:33 - 74:34
    ice
  • 74:34 - 74:38
    box. Boy, am I
  • 74:38 - 74:42
    hungry? Where's the
  • 74:42 - 74:45
    butter? Have you got any wine left? Oh,
  • 74:45 - 74:47
    here. Wait. Oh, right. I found a bottle
  • 74:47 - 74:49
    of
  • 74:49 - 74:53
    beer. Someone cucumber salad left
  • 74:53 - 74:56
    over. I can't find any. Oh, wait. Here
  • 74:56 - 74:58
    it is. Here it is. Darling, the record.
  • 74:58 - 75:00
    Can you turn it over? Never mind. I'll
  • 75:00 - 75:02
    get
  • 75:06 - 75:09
    it. Well, here we are. How does it look?
  • 75:09 - 75:10
    Pretty good, huh? I don't know why I
  • 75:10 - 75:14
    feel as if I haven't eaten in days.
  • 75:14 - 75:17
    Hello, my love.
  • 75:20 - 75:22
    Oh, Gabby, wait. I forgot I put the
  • 75:22 - 75:26
    chain on last night. Morning. It's all
  • 75:26 - 75:28
    right. I'll take it. Would you like me
  • 75:28 - 75:33
    to get Paula? Can you help?
  • 75:33 - 75:35
    Good morning. Can you help me with this
  • 75:35 - 75:37
    thing?
  • 75:37 - 75:42
    Gabby, this is Phil. Um, Mr. Vanderb,
  • 75:42 - 75:45
    don't worry about breakfast. I'll do
  • 75:46 - 75:51
    that. Well, thank you, Gabby.
  • 75:52 - 75:57
    Gabby, I'll call you if I need you.
  • 75:57 - 76:01
    She was embarrassed. Not embarrassed.
  • 76:01 - 76:03
    Surprised. Gabby is my guardian, my
  • 76:03 - 76:05
    protector. She's much older and wiser
  • 76:05 - 76:07
    than I am. My Gabby, look at the time.
  • 76:07 - 76:09
    I'm going to be late. Oh, don't worry. I
  • 76:09 - 76:10
    can drive you to the shop. No, I don't
  • 76:10 - 76:12
    want you to. Could you get the butter?
  • 76:12 - 76:14
    Well, why shouldn't I take you? Oh,
  • 76:14 - 76:16
    there's no need.
  • 76:16 - 76:17
    I can let you off at the corner if you
  • 76:17 - 76:20
    don't want anybody to see us. Why?
  • 76:20 - 76:22
    I don't know. I just thought Don't
  • 76:22 - 76:25
    worry. They'll know soon enough and
  • 76:25 - 76:26
    they'll have such fun. Have you heard
  • 76:26 - 76:29
    about Paula and her new young men? Oh,
  • 76:29 - 76:31
    she must have such vitality, Paula. Such
  • 76:31 - 76:34
    an appetite for life and young men. Does
  • 76:34 - 76:36
    it matter?
  • 76:36 - 76:39
    Not really. All right, then. What time
  • 76:39 - 76:42
    are you through? About 6.
  • 76:42 - 76:45
    6? What am I going to do till 6? Well,
  • 76:45 - 76:46
    how do you know that I'm not busy
  • 76:46 - 76:49
    tonight?
  • 76:50 - 76:52
    That's true. No, I don't.
  • 76:52 - 76:55
    Let me do that.
  • 76:56 - 76:59
    I'm not busy tonight. Good. Still, what
  • 76:59 - 77:02
    will I do to sick? I don't know. Work.
  • 77:02 - 77:05
    Work? Oh, I know what I'll do. I'll
  • 77:05 - 77:07
    wander around Paris thinking of you. And
  • 77:07 - 77:09
    then I'll have lunch alone thinking of
  • 77:09 - 77:11
    you. And well, then I'll wait for 6:00
  • 77:11 - 77:14
    to come.
  • 77:31 - 77:34
    Heat. Heat.
  • 78:49 - 78:52
    Hey, please pass. You go ahead. I'll
  • 78:52 - 78:54
    catch up with you. Why? Where are you
  • 78:54 - 78:56
    going? to make a phone call. Sell the
  • 78:56 - 78:58
    portal to get as a cab. What's his
  • 78:58 - 79:03
    number? 24. Don't worry, I'll be there.
  • 79:10 - 79:13
    Hello.
  • 79:14 - 79:15
    Hello.
  • 79:15 - 79:18
    I just got in. I'm at the airport. How
  • 79:18 - 79:20
    are you? Did you have a good trip? I
  • 79:20 - 79:22
    want to see you. Are you free for dinner
  • 79:22 - 79:24
    tonight?
  • 79:24 - 79:27
    No, no, I can't have dinner.
  • 79:27 - 79:31
    Well, can you manage lunch? Yes. Yes.
  • 79:31 - 79:32
    Yes. Let's have lunch. Where? Where
  • 79:32 - 79:34
    would you like? Oh, it doesn't matter. A
  • 79:34 - 79:37
    place that's not too crowded.
  • 79:37 - 79:39
    Fine. All right. I'll meet you there. Do
  • 79:39 - 79:41
    you want me to pick you up? No. No. I'll
  • 79:41 - 79:45
    meet you there. All right.
  • 79:47 - 79:52
    I I'm looking forward to seeing you.
  • 79:52 - 79:56
    Goodbye, Ro.
  • 80:10 - 80:12
    I'm sorry I'm late. No, it's me. I was
  • 80:12 - 80:15
    early.
  • 80:15 - 80:17
    Don't you feel well? Why? You don't
  • 80:17 - 80:19
    usually drink in the middle of the day.
  • 80:19 - 80:22
    Oh, that I felt a bit tired. Oh, well
  • 80:22 - 80:24
    then I I think I'll have a
  • 80:24 - 80:28
    vermouth. Wait,
  • 80:29 - 80:30
    it seems a long time since I've seen
  • 80:30 - 80:33
    you. 10 days?
  • 80:33 - 80:35
    Seems longer.
  • 80:35 - 80:36
    I called you a couple of time from
  • 80:36 - 80:40
    Germany, but I couldn't get you.
  • 80:40 - 80:43
    I've been out quite a bit. Or maybe I
  • 80:43 - 80:46
    turn off my phone.
  • 80:48 - 80:51
    You never used to.
  • 80:53 - 80:57
    Thank you. Have you seen Jimmy?
  • 80:57 - 80:59
    No.
  • 80:59 - 81:02
    What have you done?
  • 81:03 - 81:07
    I've been seeing Phillip quite a lot.
  • 81:07 - 81:08
    Oh, the
  • 81:09 - 81:14
    young still mad about you.
  • 81:14 - 81:19
    And you do you still find him amusing?
  • 81:19 - 81:22
    Yes.
  • 81:22 - 81:26
    amusing. No more than that.
  • 81:29 - 81:31
    More. Well, there's nothing to say to
  • 81:31 - 81:35
    that, is there?
  • 81:38 - 81:40
    There's so much you could have
  • 81:40 - 81:43
    said, Horushi. If I were to tell you
  • 81:43 - 81:45
    that everything still depends on you,
  • 81:45 - 81:46
    you wouldn't know how to say it, would
  • 81:46 - 81:51
    you? I don't know. But I do.
  • 81:51 - 81:54
    You would say that you were too too
  • 81:54 - 81:55
    obsessed with your freedom, too
  • 81:55 - 81:56
    frightened of losing it. I said I don't
  • 81:56 - 81:59
    know. All I know is that I test the idea
  • 81:59 - 82:01
    of you and that
  • 82:01 - 82:05
    young play. We miss you. I hope it's
  • 82:05 - 82:08
    worth your time.
  • 82:08 - 82:13
    It isn't a matter of he loves me.
  • 82:13 - 82:15
    It never occurred to me when I asked her
  • 82:15 - 82:16
    to lunch that I would have to listen to
  • 82:16 - 82:18
    the story of your love life with that
  • 82:18 - 82:19
    boy.
  • 82:19 - 82:21
    Since you've always made sure I knew all
  • 82:21 - 82:23
    about yours with your girls. At least
  • 82:23 - 82:25
    that's
  • 82:28 - 82:31
    normal. I
  • 82:35 - 82:39
    mean, goodbye.
  • 82:45 - 82:46
    Hey, my name is
  • 83:02 - 83:05
    Martini. Paula,
  • 83:05 - 83:07
    I'm sorry. That was stupid of me. You
  • 83:07 - 83:10
    know I didn't mean it. Oh, it it was
  • 83:10 - 83:12
    just as much my fault. Perhaps we
  • 83:12 - 83:14
    shouldn't see each other for a
  • 83:14 - 83:18
    while. Goodbye, darling. Paula, you know
  • 83:18 - 83:19
    that
  • 83:19 - 83:23
    I You mean so much to me,
  • 83:24 - 83:28
    Paula. You do.
  • 84:24 - 84:27
    Wild.
  • 84:40 - 84:43
    Thank you.
  • 84:43 - 84:46
    17 in the ship. The last four first
  • 84:46 - 84:50
    three all by five. Love, what's our room
  • 84:50 - 84:53
    number? What? Our room number? I don't
  • 84:53 - 84:57
    know what you've got the key.
  • 84:58 - 85:02
    425. All the rest on 4 and 25.
  • 85:16 - 85:18
    It's too much.
  • 85:18 - 85:21
    Ro, hello. Jimmy, what are you doing in
  • 85:21 - 85:23
    Oil? I just decided to get away, you
  • 85:23 - 85:25
    know. Is Paula here? Where are you
  • 85:25 - 85:29
    staying? No, Paula's not here. Oh, I
  • 85:29 - 85:31
    haven't seen Paula in 2 months. Oh, I'm
  • 85:31 - 85:33
    sorry. I didn't know. Well, that's
  • 85:33 - 85:36
    stupid. Well, I
  • 85:36 - 85:41
    mean, see you later, OJ.
  • 85:56 - 86:00
    close the window, love.
  • 86:01 - 86:03
    Love, please close the window. It's
  • 86:03 - 86:06
    cold. Stop calling me love.
  • 86:06 - 86:10
    What time is this?
  • 86:12 - 86:16
    Gosh, do you realize it's it's only
  • 86:16 - 86:20
    5:00? What are you doing up, love? Hey,
  • 86:20 - 86:21
    you haven't been to bed yet. Stop
  • 86:21 - 86:24
    calling me love. Why? You call me Maisy.
  • 86:24 - 86:26
    Just stop using that word. What's the
  • 86:26 - 86:29
    matter with you? Love. Love. Love. Do
  • 86:29 - 86:33
    you know what it means?
  • 86:33 - 86:34
    Well, do
  • 86:34 - 86:37
    you? What does it mean, love? Did we
  • 86:37 - 86:40
    come here to discuss my vocabulary? Just
  • 86:40 - 86:42
    stop calling me love. It's all right at
  • 86:42 - 86:44
    night, but not in the morning. We're
  • 86:44 - 86:46
    getting particular now. Will you kindly
  • 86:46 - 86:49
    close the
  • 86:58 - 87:00
    window? Here's
  • 87:00 - 87:03
    your change. Thank you. Thank you, sir.
  • 87:03 - 87:06
    Speaking. Yes, madam.
  • 87:06 - 87:10
    Mr. De Mar. I haven't seen him, madam.
  • 87:10 - 87:12
    Thank you. Thank you, sir. But how about
  • 87:12 - 87:15
    your luggage, sir? Madam will bring it.
  • 87:15 - 87:19
    Very good, sir. I hope
  • 88:21 - 88:24
    Phillip.
  • 88:35 - 88:38
    Phillip.
  • 88:56 - 88:59
    Phillip.
  • 88:59 - 89:02
    Hello. I want to talk to you. Uhoh.
  • 89:02 - 89:04
    Well, Philillip, this can't go on. You
  • 89:04 - 89:06
    have to work. When was the last time you
  • 89:06 - 89:09
    went to the office? T Tuesday. Tuesday.
  • 89:09 - 89:11
    And when
  • 89:11 - 89:13
    before you've reached a point where you
  • 89:13 - 89:14
    do nothing at all. You see me off in the
  • 89:14 - 89:16
    morning and then you wait for me to come
  • 89:16 - 89:17
    home at night. And now you're taking to
  • 89:17 - 89:19
    sneaking drinks.
  • 89:19 - 89:22
    Oh, no, that's not so. I I just I just
  • 89:22 - 89:23
    rinsed out that glass because I know you
  • 89:23 - 89:26
    hate untidiness. Yes. I hate untidiness
  • 89:26 - 89:28
    and I hate lies and I hate weakness and
  • 89:28 - 89:33
    pretty soon pretty soon I hate you.
  • 89:34 - 89:38
    That was bound to come, wasn't it?
  • 89:38 - 89:40
    Oh, Phillip, I didn't mean it that way.
  • 89:40 - 89:42
    But I can't have you become a stupid
  • 89:42 - 89:45
    sudden lump because of me. I've told you
  • 89:45 - 89:47
    to go to work a hundred times and this
  • 89:47 - 89:50
    is the last. That's all. And if I don't
  • 89:50 - 89:51
    what? Well, I won't be able to see you
  • 89:51 - 89:54
    anymore.
  • 89:54 - 89:58
    You could send me away just like that?
  • 90:06 - 90:08
    Yes. Oh,
  • 90:08 - 90:13
    Philly. Stop it. You're acting.
  • 90:15 - 90:18
    Look at me. Look at
  • 90:18 - 90:22
    me now. What is
  • 90:22 - 90:26
    it? It's just that you don't love me and
  • 90:26 - 90:29
    there's nothing I can do about it. I
  • 90:29 - 90:30
    knew from the beginning that you would
  • 90:30 - 90:34
    send me away someday, but all all the
  • 90:34 - 90:36
    time I kept hoping that it that it never
  • 90:36 - 90:38
    would happen.
  • 90:38 - 90:41
    And all the whiskey I've drunk, all the
  • 90:41 - 90:43
    whiskey in the world, couldn't make any
  • 90:43 - 90:46
    difference because now it has
  • 90:46 - 90:50
    happened. And that's it. Oh no,
  • 90:50 - 90:53
    Phillip. You're such a fool. Such a
  • 90:53 - 90:55
    child. Oh, such a
  • 90:55 - 90:58
    fool. You've played at being the
  • 90:58 - 90:59
    abandoned lover, and you've done it so
  • 90:59 - 91:02
    well. You believe it yourself. I do care
  • 91:02 - 91:03
    about you. You know that,
  • 91:03 - 91:07
    Philillip. Look at me now. Look at me.
  • 91:07 - 91:09
    You don't want me to go?
  • 91:09 - 91:14
    No, not today. But I want you to work.
  • 91:14 - 91:17
    I will. I promise I will.
  • 91:17 - 91:21
    I was so afraid.
  • 91:22 - 91:25
    Were you such a fool?
  • 91:49 - 91:51
    What is it? I just wanted to see if you
  • 91:51 - 91:55
    were in. Sorry.
  • 92:08 - 92:12
    Hello. Who's calling please? Oh yes. Uh
  • 92:12 - 92:15
    one moment please.
  • 92:15 - 92:17
    Madame Tessier.
  • 92:17 - 92:20
    Yes.
  • 92:29 - 92:33
    Dear Hello Roa.
  • 92:34 - 92:38
    How are you? I'm all right. And you?
  • 92:38 - 92:40
    Yes, I'm fine.
  • 92:40 - 92:43
    Well, I'm taking a holiday next week.
  • 92:43 - 92:45
    This is a time of year, you know.
  • 92:45 - 92:47
    Remember, we always went away for a week
  • 92:47 - 92:51
    or so. So, I thought I'd call you and as
  • 92:51 - 92:53
    long as I'm getting my ticket, I thought
  • 92:53 - 92:57
    if you want me to get a ticket for you,
  • 92:57 - 93:00
    I don't think it's possible. RJ, you
  • 93:00 - 93:03
    don't?
  • 93:04 - 93:07
    It's just not that easy.
  • 93:07 - 93:09
    Well, how how could we go away and
  • 93:09 - 93:10
    pretend that
  • 93:10 - 93:13
    not we couldn't help thinking? Oh,
  • 93:13 - 93:15
    that's why I'm going not to think to
  • 93:15 - 93:17
    think of nothing. But there's not a very
  • 93:17 - 93:21
    good reason for going. The best.
  • 93:21 - 93:23
    It isn't that easy. And I'm sure you
  • 93:23 - 93:26
    don't need me for that. For that? I'm
  • 93:26 - 93:28
    sure you'll be all right.
  • 93:28 - 93:30
    by yourself or with some of
  • 93:30 - 93:33
    your someone else. What? Well, nothing.
  • 93:33 - 93:35
    Nothing. They never meant anything to
  • 93:35 - 93:38
    me. You know that. As long as you had me
  • 93:38 - 93:42
    to come back to then you won't come. No,
  • 93:42 - 93:46
    no, no. Ro, goodbye. Hold on.
  • 93:46 - 93:49
    Take care of yourself, will you?
  • 93:49 - 93:53
    Yes, sir. I will.
  • 94:00 - 94:02
    Oh, wait. Come on. Come on. Come on.
  • 94:02 - 94:05
    Don't rush me there. See?
  • 94:05 - 94:09
    Not bad. Excuse me, sir. Good, sir. Oh,
  • 94:09 - 94:11
    at last. Say it's getting cold, isn't
  • 94:11 - 94:13
    it? Yes, a bit. Oh, wait. Would you mind
  • 94:13 - 94:15
    going up to room 16? What would you
  • 94:15 - 94:16
    like, darling? Oh, there's a yellow
  • 94:16 - 94:18
    cardigan on the bed. Yes, ma'am. All
  • 94:18 - 94:20
    right, let's go. No, wait a minute. Wait
  • 94:20 - 94:21
    a little. But no, I did not. Look at
  • 94:21 - 94:23
    that. I knew I would have won. Didn't
  • 94:23 - 94:24
    you cheat pushing him with your foot a
  • 94:24 - 94:28
    little? No, I did not. Oh, you ought to
  • 94:28 - 94:31
    be ashamed of yourself.
  • 94:31 - 94:33
    Oh, it's wonderful getting you away from
  • 94:33 - 94:35
    Paris. You're a different person. You
  • 94:35 - 94:37
    shed your skin. Thank you. Why don't we
  • 94:37 - 94:38
    stay over another night and go back in
  • 94:38 - 94:41
    the morning? Yes. Why don't we live?
  • 94:41 - 94:46
    Oh, good evening. Good. Good evening.
  • 94:46 - 94:49
    You uh you uh know Madame Tessier, don't
  • 94:49 - 94:49
    you?
  • 94:49 - 94:52
    Madame Flurry, Mercio Flurry, and this
  • 94:52 - 94:54
    is Meline and this is Pierre. Good
  • 94:54 - 94:57
    evening. H Did uh you uh drive out from
  • 94:57 - 94:59
    Paris for dinner? It's a wonderful
  • 94:59 - 95:01
    place, isn't it? How was the traffic? We
  • 95:01 - 95:05
    we got stuck in Slooh yesterday. And
  • 95:05 - 95:07
    oh, here we are. Is there a one out?
  • 95:07 - 95:10
    Yes. Thank you. Do sit down, children.
  • 95:10 - 95:14
    Your food is getting cold. Lucian,
  • 95:14 - 95:18
    your key, sir.
  • 95:23 - 95:26
    Well, nice to have seen you. Goodbye.
  • 95:26 - 95:29
    Goodbye. Goodbye. Should we have another
  • 95:29 - 95:32
    drink? It'll warm us up. How old is she?
  • 95:32 - 95:34
    Oh, please. Lucy and Deal. You better
  • 95:34 - 95:35
    start asking for the bill. It takes an
  • 95:35 - 95:37
    eternity here.
  • 95:37 - 95:39
    This way, madam. Your table is ready.
  • 95:39 - 95:43
    You go ahead. I'll be right there.
  • 95:47 - 95:50
    to dry.
  • 95:51 - 95:56
    Children's here. I see.
  • 96:05 - 96:08
    Where's madame? I don't know. She went
  • 96:08 - 96:13
    out, but your dinner is ready, sir.
  • 96:21 - 96:23
    I'd like to go back to Paris. All right,
  • 96:23 - 96:26
    Paula. What do you care what people like
  • 96:26 - 96:28
    that think? I don't. But what difference
  • 96:28 - 96:30
    does it make? It doesn't. Well, then.
  • 96:30 - 96:32
    Well, let's not talk about it. No, we
  • 96:32 - 96:34
    will talk about it and you'll listen.
  • 96:34 - 96:36
    Oh, please don't. This is This is
  • 96:36 - 96:38
    unworthy of you and humiliating for me.
  • 96:38 - 96:39
    You're making too much of it. No, you're
  • 96:39 - 96:42
    making too much of it. I'm not a fool,
  • 96:42 - 96:43
    you know. I'm not a child you have to
  • 96:43 - 96:46
    hide things from. If you'd agree, I'd
  • 96:46 - 96:48
    marry you tomorrow. Oh, don't be silly.
  • 96:48 - 96:50
    I'm so much older. That's not the
  • 96:50 - 96:51
    problem. Age has nothing to do with it.
  • 96:51 - 96:53
    I love you. I need you. And nothing that
  • 96:53 - 96:55
    people say can make any
  • 96:55 - 96:57
    difference. The only problem for you,
  • 96:57 - 97:00
    for us, is
  • 97:01 - 97:04
    Roger. He's still there, isn't he? Deep
  • 97:04 - 97:08
    inside you, and you can't drive him out.
  • 97:08 - 97:10
    What is it they used to do when someone
  • 97:10 - 97:12
    had a demon inside? Say prayers, burn
  • 97:12 - 97:15
    incense, ring bells, make noise. If I
  • 97:15 - 97:17
    did all that, would it drive Roger out
  • 97:17 - 97:20
    of you?
  • 97:21 - 97:23
    I'm sorry. Somehow it never occurred to
  • 97:23 - 97:25
    me that you It just never occurred to
  • 97:25 - 97:27
    you that I could think that.
  • 97:37 - 97:38
    Do you think we should keep going? It's
  • 97:38 - 97:41
    up to you. The price is still low. Who
  • 97:41 - 97:42
    is that revolting man who keeps bidding
  • 97:42 - 97:45
    against us? It's another dealer. He'll
  • 97:45 - 97:47
    stop soon. I know him. Well, it better
  • 97:47 - 97:50
    be soon because
  • 97:56 - 97:58
    there we have them. Well, and a very
  • 97:58 - 98:01
    good prize.
  • 98:08 - 98:10
    Oh, they are a bargain, aren't they? I
  • 98:10 - 98:11
    think they'll go very well in the
  • 98:11 - 98:14
    library. Come to think of it, I may put
  • 98:14 - 98:17
    them in Philip's room. Uh, by the way,
  • 98:17 - 98:21
    uh, how is he? Why don't you see him?
  • 98:21 - 98:23
    Oh, he comes home from time to time to
  • 98:23 - 98:25
    pick up his laundry.
  • 98:25 - 98:27
    Oh, I didn't know. My dear, it's
  • 98:27 - 98:29
    perfectly normal. As a matter of fact, I
  • 98:29 - 98:31
    always hoped Philip would fall in love
  • 98:31 - 98:33
    with an older woman. Do you want me to
  • 98:33 - 98:35
    pay you a commission on those chairs?
  • 98:35 - 98:37
    Well, after all, you took the time, and
  • 98:37 - 98:39
    your time is worth something. Uh, isn't
  • 98:39 - 98:42
    it? Oh, please. Well, if you insist.
  • 98:42 - 98:44
    Now, do you mind if I ask you something
  • 98:44 - 98:48
    about Phillip? Yes, I do. Your car's
  • 98:48 - 98:50
    here, madam. Oh, uh, thank you. Can I
  • 98:50 - 98:52
    give you a lift, Paula? I'm going to do
  • 98:52 - 98:54
    yours. Thank you. No, I'd rather walk.
  • 98:54 - 98:56
    Are you sure? Yes. Thank you. Goodbye.
  • 98:56 - 98:59
    Goodbye.
  • 99:01 - 99:03
    Still, you have learned a certain amount
  • 99:03 - 99:06
    of French law since you've been here.
  • 99:06 - 99:09
    But New York is where you will work. It
  • 99:09 - 99:11
    is where you will live. I've had a long
  • 99:11 - 99:13
    talk with your mother, and we agree that
  • 99:13 - 99:16
    under the circumstances, your career
  • 99:16 - 99:18
    will profit from your immediate return
  • 99:18 - 99:20
    to New York. That's very nice of you,
  • 99:20 - 99:23
    but I'm not going.
  • 99:23 - 99:25
    I'm afraid you have no choice. Oh, yes,
  • 99:25 - 99:28
    I have. Well, you'll have to talk to
  • 99:28 - 99:32
    your mother about that. Ellis,
  • 99:32 - 99:34
    Mr. Flurry, were they to discover that
  • 99:34 - 99:36
    you have a mistress, and I'm sure you
  • 99:36 - 99:39
    have, where would they send you?
  • 99:39 - 99:41
    Goodbye, sir.
  • 99:41 - 99:43
    Goodbye. Goodbye.
  • 99:43 - 99:47
    Goodbye. All
  • 99:53 - 99:56
    this way, please. That table over there.
  • 99:56 - 99:58
    No, no, no. Not that one. Not tonight.
  • 99:58 - 100:00
    I'm afraid everything is reserved. Well,
  • 100:00 - 100:03
    how about this one? Oh, I'm sorry. No
  • 100:03 - 100:05
    butts. No butts. Uh, what's your name?
  • 100:05 - 100:07
    Fras. You don't know me, but this is a
  • 100:07 - 100:08
    night we're both going to remember.
  • 100:08 - 100:12
    We'll take this one. Madame,
  • 100:12 - 100:14
    you asked for me, Mrs. Yes. Yes. We'd
  • 100:14 - 100:17
    like some flowers. No, no, I'd like you
  • 100:17 - 100:18
    to find the most beautiful bouquet you
  • 100:18 - 100:19
    can
  • 100:19 - 100:23
    from. here.
  • 100:23 - 100:26
    You're completely mad. Absolutely. What
  • 100:26 - 100:28
    is this all about? We're celebrating
  • 100:28 - 100:30
    what? My independence. My independence
  • 100:30 - 100:32
    of the world. My dependence on you.
  • 100:32 - 100:36
    Prosa. Yes. We would like to start with
  • 100:36 - 100:37
    something just great. Followed by the
  • 100:37 - 100:39
    most marvelous dinner ever served in the
  • 100:39 - 100:40
    history of Maxine. Would you like to
  • 100:40 - 100:44
    start with some fresh? Yeah. No. No.
  • 100:44 - 100:46
    Caviar.
  • 100:46 - 100:49
    Caviar. Caviar with benise. Yes. and
  • 100:49 - 100:51
    vodka to go with it. Madam, will you
  • 100:51 - 100:53
    dance? May I have the pleasure of this
  • 100:53 - 100:55
    dance?
  • 100:55 - 100:58
    Vodka, the best and lots of it.
  • 100:58 - 101:01
    No, no, no. Champagne, a magnet.
  • 101:04 - 101:05
    Will you please tell me what this is all
  • 101:05 - 101:07
    about?
  • 101:07 - 101:09
    I've quit my job. Or rather, I've traded
  • 101:09 - 101:12
    it in for Paris. You've quit your job?
  • 101:12 - 101:14
    Yep. Why? They were going to send me
  • 101:14 - 101:16
    away to New York. Oh, but spill it. No,
  • 101:16 - 101:18
    but not from you. Let's have a packed.
  • 101:18 - 101:20
    All right. No, Phillip, you can't do
  • 101:20 - 101:23
    this. I won't let you do it.
  • 101:23 - 101:26
    It's done.
  • 101:33 - 101:37
    I saw her at Balenciaga
  • 101:37 - 101:40
    Bis. I saw her at Balenciaga in a dress
  • 101:40 - 101:42
    from Belma and the next day at
  • 101:42 - 101:45
    Lingi. Isn't it funny?
  • 101:45 - 101:47
    Today she was having lunch with Kilar
  • 101:47 - 101:50
    Rosh wearing a Chanel and now here she
  • 101:50 - 101:54
    is holding you. I almost wore that belt.
  • 101:54 - 101:56
    You like it?
  • 101:56 - 101:59
    H what are you thinking? How stupid the
  • 101:59 - 102:03
    world is. What? Nothing. Come on. Let's
  • 102:03 - 102:06
    dance.
  • 102:32 - 102:34
    I have a confession to make. I almost
  • 102:34 - 102:36
    did something terrible. What? Well, it's
  • 102:36 - 102:37
    a beautiful place between your neck and
  • 102:37 - 102:40
    your shoulder which I almost bit.
  • 102:40 - 102:43
    May I? I'll fill it. Well, you think
  • 102:43 - 102:47
    about it and let me know.
  • 102:52 - 102:55
    You are very far away tonight, Sherry.
  • 102:55 - 102:57
    Oh, am I? Shall we go to the elephant?
  • 102:57 - 103:00
    Why? I may be
  • 103:01 - 103:04
    here.
  • 103:21 - 103:24
    Heat.
  • 103:26 - 103:29
    Heat.
  • 103:48 - 103:50
    Here we go back. I think our food is
  • 103:50 - 103:54
    he's there. Okay.
  • 104:20 - 104:23
    Phoenix.
  • 104:29 - 104:33
    Shall we go somewhere else?
  • 104:33 - 104:37
    If you like to.
  • 104:40 - 104:42
    Doesn't really matter.
  • 104:58 - 105:00
    Well,
  • 105:00 - 105:03
    where do we go from here?
  • 105:03 - 105:06
    I don't know.
  • 105:06 - 105:11
    Good night, Philip. Paul,
  • 105:11 - 105:12
    can
  • 105:12 - 105:15
    I see you tomorrow?
  • 105:15 - 105:19
    Yes, of course.
  • 105:43 - 105:47
    Yes. May I help you? Oh, Mr. Mar, I
  • 105:47 - 105:49
    haven't seen you for some time. Yes. Is
  • 105:49 - 105:52
    Paula here? Oh, yes. She's uh she was
  • 105:52 - 105:56
    here a minute ago. Madame Tier. Madame
  • 105:56 - 105:59
    Tessier.
  • 106:05 - 106:10
    Yes, Mr. Stana. Oh, hello. Hello,
  • 106:10 - 106:13
    Paul. Well, I
  • 106:13 - 106:16
    am. Could we go somewhere? Yes, of
  • 106:16 - 106:19
    course.
  • 106:23 - 106:25
    Well, I've been making up speeches, but
  • 106:25 - 106:27
    now I
  • 106:27 - 106:30
    can help
  • 106:32 - 106:35
    me. Last night, I wanted to walk across
  • 106:35 - 106:36
    the room and
  • 106:36 - 106:40
    say, "This is enough. Let's go home."
  • 106:40 - 106:44
    And then later I walked and walked
  • 106:45 - 106:49
    and it can't go on like
  • 106:52 - 106:55
    this.
  • 106:55 - 106:58
    I I can live without you. There. Now
  • 106:58 - 107:01
    I've said it.
  • 107:01 - 107:05
    Why was it such a terrible thing to say?
  • 107:05 - 107:08
    It was all my fault.
  • 107:08 - 107:10
    I shouldn't have let you get involved. I
  • 107:10 - 107:12
    should have stopped you right at the
  • 107:12 - 107:14
    beginning. Oh, my darling, you're not
  • 107:14 - 107:17
    very bright. I'm not. But it doesn't
  • 107:17 - 107:21
    matter. I'm
  • 107:21 - 107:25
    home. for whatever it
  • 107:33 - 107:36
    is there
  • 107:36 - 107:40
    sugar. Oh, Phillip. Phillip tried to
  • 107:40 - 107:43
    understand. We met at the time when you
  • 107:43 - 107:45
    needed me and I needed you and we were
  • 107:45 - 107:47
    very
  • 107:47 - 107:50
    lucky. But it isn't enough to keep two
  • 107:50 - 107:52
    people together. It couldn't
  • 107:52 - 107:56
    last. I kept hoping selfishly that it
  • 107:56 - 107:59
    would, but it couldn't.
  • 107:59 - 108:04
    And all he had to do was say,
  • 108:04 - 108:06
    "Please." Well, I don't know. I suppose
  • 108:06 - 108:10
    I ought to feel proud in a
  • 108:10 - 108:12
    way. I mean, if it wasn't for me, you
  • 108:12 - 108:14
    probably wouldn't be getting married,
  • 108:14 - 108:18
    you know. No, I'm kind of a a Cupid.
  • 108:18 - 108:22
    Yes, that's what I am. A cupid. Look,
  • 108:22 - 108:24
    Phillip, you shouldn't It's true, isn't
  • 108:24 - 108:28
    it? I was sort of a an
  • 108:28 - 108:30
    interlude. Damn
  • 108:30 - 108:33
    it. Damn him. Damn you. Damn us
  • 108:33 - 108:37
    all. Why couldn't you love me? You said
  • 108:37 - 108:39
    it yourself, Phillip. The demon inside
  • 108:39 - 108:44
    of me. I can't drive him out.
  • 109:18 - 109:22
    Phillip. Phillip, I
  • 109:22 - 109:24
    I'll never forget.
  • 109:24 - 109:27
    Sure.
  • 109:29 - 109:31
    Me
  • 109:37 - 109:40
    neither. Well, Paula, what am I going to
  • 109:40 - 109:43
    do? What's going to happen to me?
  • 109:43 - 109:47
    Oh, Phillip, darling,
  • 109:47 - 109:48
    you'll be going back to New York. You
  • 109:48 - 109:50
    have friends there, and your life is
  • 109:50 - 109:52
    there. Sure. No, you're right. You're
  • 109:52 - 109:54
    right. I'll I'll meet the right girl,
  • 109:54 - 109:58
    get married, live happily ever
  • 109:58 - 110:04
    after. Um, where's where's my
  • 110:07 - 110:11
    slippers? Where's the other one?
  • 110:14 - 110:16
    Thank
  • 110:17 - 110:20
    you. Well,
  • 110:20 - 110:22
    uh, am am
  • 110:22 - 110:26
    I ever going to see you again? You can
  • 110:26 - 110:27
    if you want
  • 110:27 - 110:30
    to. I don't think we should.
  • 110:30 - 110:34
    No. No, we
  • 110:34 - 110:38
    shouldn't. What the hell am I doing?
  • 110:38 - 110:40
    Will you leave all this stuff with your
  • 110:40 - 110:44
    concier, please? Yes, I'll get it all
  • 110:56 - 110:58
    together. Phillip.
  • 110:58 - 111:01
    Phillip. Oh, Phillip try to
  • 111:01 - 111:05
    understand. I am old. I am old. I am
  • 111:05 - 111:09
    old. I'm old.
  • 111:50 - 111:53
    Please, Ore.
  • 111:54 - 111:58
    Well, well, that wasn't so bad, was it?
  • 111:58 - 112:00
    You talk as if you just been to your
  • 112:00 - 112:01
    dentist.
  • 112:06 - 112:10
    Gabby. Gabby. Yes, madame. Oh, I thought
  • 112:10 - 112:12
    I'd never get here. Isn't Miss your home
  • 112:12 - 112:14
    yet? No, madame. Oh, would you please
  • 112:14 - 112:17
    throw him your bath? And uh what shall I
  • 112:17 - 112:20
    wear tonight? Let's see.
  • 112:20 - 112:22
    Oh, the black chiffon. No, it's too
  • 112:22 - 112:23
    dressy. We're just going to a small
  • 112:23 - 112:25
    beastro for dinner.
  • 112:25 - 112:27
    This one? No, no, that one is What is
  • 112:27 - 112:32
    that next to it? That? Yes, that's fine.
  • 112:32 - 112:35
    What a day. The trouble with being an
  • 112:35 - 112:36
    interior decorator is that everyone
  • 112:36 - 112:38
    thinks he knows your job. But nobody
  • 112:38 - 112:40
    ever thinks of telling a plumber how to
  • 112:40 - 112:43
    fix a sink. But oh, Gabby, my zipper.
  • 112:43 - 112:46
    No, no, no. It's all right. Never
  • 112:46 - 112:48
    mind. But you just start making a
  • 112:48 - 112:50
    curtain and everybody will Gabby. Did
  • 112:50 - 112:54
    Miss call? No, madam.
  • 112:54 - 112:56
    Not too hot, Gabby. I think we need in
  • 112:56 - 112:58
    tomorrow night, Gabby. Let's get a good
  • 112:58 - 113:00
    steak for Miss No, we had that on
  • 113:00 - 113:02
    Monday. Well, let's get some lamb chops
  • 113:02 - 113:04
    and tell Madame Fu to make me one of her
  • 113:04 - 113:07
    beautiful Oh, I'll
  • 113:08 - 113:10
    take
  • 113:10 - 113:14
    Hello. Oh, Roier, where are
  • 113:18 - 113:21
    you? Yes, I suppose if you have
  • 113:21 - 113:23
    to. Yes, I
  • 113:23 - 113:25
    understand.
  • 113:25 - 113:27
    What? Oh, I'll probably have something
  • 113:27 - 113:30
    to eat and go to bed.
  • 113:30 - 113:32
    All
  • 113:32 - 113:36
    right. Goodbye.
  • 114:14 - 114:17
    Heat.
  • 114:22 - 114:25
    Heat. Heat.
  • 114:44 - 114:47
    Heat.
  • 114:54 - 114:58
    Heat. Heat.
Title:
Goodbye Again (1961) Ingrid Bergman, Anthony Perkins & Yves Montand
Description:

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Video Language:
English
Duration:
01:55:12

English subtitles

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